As the 1990s unfold, look for a new kind of energy-efficient heating and cooling appliance-a heat pump powered by an internal combustion engine that runs on natural gas. Thanks to efforts on both sides of the Pacific, this new generation of heat pump may become even more affordable and prevalent than its all-electric predecessor.
In 1981, Japan's Ministry of International Trade and Industry (MITI) launched a small-scale gas cooling technology research association, pairing gas engine manufacturers with HVAC equipment manufacturers. As a result, gas engine-driven heat pumps have been on the market in Japan since 1987. And since the late 1970s, the Gas Research Institute (GRI), the U.S. Department of Energy (DOE), and others funded American research and development of this new technology. Engine-driven, absorption (ammonia and water refrigeration cycle), adsorption (solid/vapor refrigeration cycle, with carbon beds absorbing and desorbing refrigerant), and chemisorption gas heat pumps are among technologies under development.
However gas engine-driven heat pumps differ from other kinds of heat pumps in two fundamental ways. Instead of an electric motor, a natural gas engine powers the heat pump compressor. And in the winter, heat recovered from the engine exhaust (as well as a small optional gas boiler) provides supplemental heating to the indoor space and can even be used to defrost icy outdoor coils. Electricity powers the fans and control circuits.
The gas engine-driven heat pumps discussed in this article are split systems with an outdoor unit housing the engine, compressor, and outside heat exchangers, and an indoor unit housing the air handler and inside heat exchangers. Gas heat pumps use either a two-pipe or four-pipe strategy, referring to the number of pipes running between the indoor and outdoor units (see Fig. 1). Both strategies have a refrigerant loop, like that of an electric heat pump, moving heat from source to sink. The four-pipe system contains an extra route for heat to move, in this case, from the engine itself, the source, to a heat exchanger. The indoor heat exchanger is the sink in winter, and during cooling season, the sink is the outdoor heat exchanger.
The unique qualities of the gas engine create an opportunity for adding the extra pipe system. Since the gas heat pump engine is nothing more than a hybrid auto engine, it needs a radiator for cooling. In winter, the inside unit heat exchanger acts as the radiator. The outside unit heat exchanger acts as the radiator in the summer, merely exhausting heat. The two-pipe system exhausts engine heat by transferring it to the refrigerant loop, which carries it to heat exchangers in the indoor and outdoor units. The four-pipe system has an additional water/glycol coolant loop, carrying recovered engine heat to heat exchangers in the indoor and outdoor units (see Fig. 1).
Most gas engine heat pumps feature computer chip-operated, variable-speed engines and fans that match the equipment capacity to the actual building load. With variable speed capabilities, the equipment cycles on and off less frequently, reducing engine wear and tear and extending equipment life. Another benefit of variable speed control is that in the cooling mode, when the engines and indoor blowers run at lower speeds, latent cooling capacity increases, reducing indoor humidity levels more effectively.
Gas heat pump engines are designed to have a lifespan of at least 40,000 hours of operation. (In comparison, automotive engines are designed for a lifespan of 2-3,000 hours-70,000-105,00 miles at 35 mph-and lawn and garden engines 500-750 hours.) For a typical residential application in the United States with up to 4,000 hours of operating time per year, this means an engine life of 10-15 years. As the gas heat pump contains an internal combustion engine, it requires annual maintenance (changing the oil, oil filter, air filter, and spark plug) in addition to typical space conditioning equipment maintenance.
Gas heat pumps have been sold in Japan since 1987. As part of the development process, Tokyo Gas conducted field tests of five gas engine-driven heat pumps (1-2 tons cooling capacity, a typical residential size) produced by five MITI-sponsored partnerships: Sanyo and Kubota, Matsashita (Panasonic) and Kubota, Mitsibushi and Yamaha, Daikin and Yanmar, and Toshiba and Ishikawagima- Shibaura (see Table 1). All the units tested were the two-pipe version. Engines and compressors were automotive or diesel engines and automotive or general-purpose compressors. All units use R-22 refrigerant. Indoor units are the same as those used for electric heat pump applications. The units also heated water for domestic use, stored in auxiliary tanks.
At the end of the tests, researchers could determine performance characteristics and pinpoint equipment reliability problems which, in turn, indicated the design modifications needed.
All of the units met cooling and water heating loads during the summer, water heating loads in spring and fall, and space heating loads in the winter. Based on the field test data, researchers determined both steady-state and seasonal Coefficients of Performance (COPs) for each of the five units. (The COP, a dimensionless number, is the ratio of total heating or cooling capacity in Btu/hr, to total energy consumption in Btu/hr, under designated operating conditions.) Steady state COPs for heating at 45 degrees F were 1.20-1.40, and for cooling at 95 degrees F, 0.74-.99 (see Table 1).
Researchers compared estimated operating costs (cooling, heating, and water heating) of the Mashista and Daikin gas heat pumps to two conventional electric heat pump scenarios, one with an electric water heater and the other with a gas water heater (3). In both instances, the gas heat pump operating costs were lower. Operating costs for the electric heat pumps were, with a gas water heater, 16-35% higher than that for the gas heat pumps, and with an electric water heater, 29-56% higher.
Several reliability and design problems emerged including noise, vibration-induced piping damage, leaks, control signal errors, starter unreliability, refrigerant pressure problems, engine and valve corrosion, and inadequate oil tank shielding from rain which caused engine burnout. Manufacturers attempted to correct these faults in later models. However, gas heat pumps by design are more likely to leak refrigerant at the shaft seal, which electric heat pumps avoid by keeping both motor and compressor within one case.
Tokyo Gas also found that the newer the model, the less frequent these problems appeared, indicating that design was improving. The percentage of units with any kind of trouble at all decreased from 100% for the 1987 model year to 19% for the 1990 model year (4).
Gas Research Institute has just completed field tests of the York gas engine-driven heat pump. Developed by Battelle Laboratories and GRI, the York unit is a 3-ton capacity, split system gas engine- driven heat pump with a variable speed engine and indoor fan and a two-speed outdoor fan using R-22 refrigerant. Engine heat and an optional natural gas boiler provide supplemental heating and can defrost outside coils (see Table 2).
York dealers trained by Battelle Labs installed gas heat pumps in residences in ten U.S. cities representing a wide variety of climatic conditions (see Table 3 ). Researchers recorded gas and electricity consumption, indoor and outdoor temperatures, and heat pump operating parameters. Researchers evaluated performance, defrosting and cycling, effects of extreme weather conditions, effectiveness of the variable speed control system, and reliability.
"The Honeywell-designed variable speed control system worked well and maintained temperatures to within one-half degree of setpoints," according to GRI's Gary Nowakowski. "Due to speed modulation and accurate compressor sizing, the gas heat pump heated or cooled the houses quickly and then modulated down to lower speeds to maintain temperature and comfort levels." On average, the gas heat pumps cycled once an hour, providing more consistent comfort levels. (Conventional gas furnaces average six cycles per hour. Single- speed electric heat pumps and air conditioners average three cycles per hour.) Heating supply air temperatures for the York test units were 100 degrees F-115 degrees F. By comparison, conventional electric heat pump supply air temperatures are 10 degrees F-15 degrees F lower, and gas furnaces higher at 120 degrees F-130 degrees F). In most summer months during the field test, relative humidity was maintained at close to 50% in all the houses.
Measured heating seasonal COPs were 1.2-1.5 and cooling seasonal COPs 0.9-1.2 (see Table 4). (Seasonal COPs are calculated over a specified heating and cooling season, and are the ratio of total delivered heating or cooling capacity to total equipment energy input over that time period.) Based on these field tests, GRI estimates energy cost savings of 20%-80% over comparable conventional electric heat pumps and furnace/air conditioners (see Table 4).
In Japan, under the influence of governmental policies geared to improve energy efficiency, gas cooling has been installed in 80% of all new buildings, a small portion of them residential. Equipment first-cost is less important for building owners who otherwise must pay for any additional electric generating capacity they cause. This policy boosts the popularity of gas engine heat pumps, which are produced by Japanese HVAC manufacturers and sold and serviced by the gas utilities.
The majority of Japanese gas heat pumps sold today are split systems or multisplit systems (multiple indoor exchangers connected to a single outdoor heat exchanger) (see Fig. 2). Most are 2-pipe systems (with engine heat recovery on the refrigerant loop) rather than 4- pipe systems, and feature variable-speed controls for the engine with either a single-speed or variable-speed indoor fan.
The Japanese utilities have installed 60,000 units. Gas heat pump manufacturers in Japan include Yamaha (with a 50% market share), Aisin Seiki (mostly larger, commercial size units), Yanmar, Sanyo, Mitsubishi, Nissan, and others. Several Japanese manufacturers, in conjunction with U.S utilities, have been testing their units- prototypes and production models-in various U.S. climates for the past several years.
The York gas engine heat pump is now entering into a field demonstration of 50 units to be sold to consumers in several regions of the country. According to Chuck French of GRI, the demonstration will prime manufacturing and marketing operations in anticipation of a full release of models in 1993. GRI and York expect the unit to be cost-competitive-both in purchase price and operating expenses-with other high-efficiency space-conditioning equipment. It will be sold mostly to the custom housing, replacement, and light commercial markets. As production volume grows and manufacturing costs decrease, the unit will be more competitive with midrange equipment.
York will attempt to advance three environmental selling points to market their gas heat pumps, French believes. Equivalent HSPFs and SEERs exceed the minimum electric heat pump efficiency standards of the National Appliance Energy Conservation Act (NAECA) standards. Also, gas heat pumps, like electric heat pumps, use R-22 refrigerant, an ozone-depleting chlorofluorocarbon gas, but will be able to change over to the same non-CFC refrigerants as electric heat pumps when required by law. (A lingering question is why put CFCs onto the market in the first place along with units that will soon need retrofitting.) According to both the San Francisco Bay Area Air Quality Management District and the South Coast Air Quality District (Los Angeles), the heat pump's 5-hp engine falls below the 50-hp cutoff where Oxides of Nitrogen (NOx) emission regulations come into play. York's NOx emissions have been measured at 300 parts per million.
According to GRI, engine-driven gas heat pumps will benefit homeowners, regulators, utilities, and the environment. They will offer to homeowners the possibility of choosing a cheaper fuel for cooling; to state regulators, a chance to encourage the use of a technology that benefits gas and electric ratepayers, increases efficiency, and fosters environmental quality; to gas utilities, an opportunity to reduce the seasonability of customer gas loads; and to electric utilities, possibly a new demand-side management tool that lowers peak loads and defers new power plant construction.
In terms of gas heat pump technologies still only on the horizon, the Japan Gas Assoc. is in the process of developing a 1.3-ton residential gas heat pump. MITI has also expanded its gas heat pump program to include absorption units (which use non-CFC, ammonia- based refrigerants) while, in the United States, the DOE and GRI have also been conducting gas heat pump research. For its gas heat pump, York is considering modifications like water heating, generating its own electricity, and a cooling-only use.
The Japanese have proven that gas engine-driven heat pumps are viable. Americans will try to do the same.


text:
Studio group portrait of Ivan Geshov, Georgi Yankolov, Haralampi Sarmadzhiev and Evlogii Pulev
Full length shot of a group of four men, all in urban clothes with hats, two of them sitting, two standing behind them.
Ivan Evstratiev Geshov (1849 – 1924) was a Bulgarian politician and scholar. He was Chairman of the Bulgarian Literacy Society (1898 - 1911), the Bulgarian Academy of Sciences (1911 - 1924) and the Bulgarian Red Cross (1899 - 1924). Geshov formed a Government in March 1911, led the Country through the First Balkan War against the Ottoman Empire, and resigned at the end of May 1913. Haralampi Sarmadzhiev was a Bulgarian lawyer and diplomat.
200 Communication > 204 Press
690 Justice
810 Science and Humanities
St. Cyril and St. Methodius National Library, Inv. No.: C V 1108

redpajama_set_name: RedPajamaCommonCrawl


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The Sarris Wheel
A journey through the work of cinematic visionaries, one movie at a time.
Wes Anderson – Bottle Rocket
BRIAN: The time has come for us to embark on a study of a celebrated filmmaker. The filmmaker in question is a director whose current output is well-crafted, thoughtful, and, dare I say it, downright entertaining. That's right, it's time for us to talk about one Wesley Wales Anderson, better known to the general public as 'Wes'.
A big reason I wanted to start with Anderson is that I love Grand Budapest Hotel so much, enough to name it my favorite movie of 2014. But Hotel is a work from a fully-formed artist, someone who's clearly at the top of their game. I haven't seen most of Anderson's earlier movies and I'm hoping that, going through his filmography one by one, I'll be able to understand and appreciate his directorial style even more.
Which brings us to Bottle Rocket.
It came out twenty-one years ago in 1996, so I suppose that means Anderson's career can legally imbibe alcohol. Watching it from a modern perspective, the most surprising thing about Bottle Rocket is that it didn't give the world one new celebrated artist. It gave us three.
I spent the first twenty minutes of the movie pretty much shouting, "Luke and Owen Wilson are so young!" over and over. Once I got over my initial excitement, I realized that Owen Wilson is giving a fantastic and thoroughly unique performance. I don't think I've ever seen a character like Dignan on screen before or since. He's prideful, cowardly, and a complete innocent, but the movie never condescends to him. I think he's the primary reason Bottle Rocket works as well as it does.
But, before this derails into an Owen Wilson auteur study (which would include the likes of Drillbit Taylor and Zoolander 2), what are your opening thoughts on Bottle Rocket and the character of Dignan, Danielle?
DANIELLE: So before I start on my initial thoughts in this movie, I would like to also give some background. I'm super excited to embark on this Wes Anderson journey. He is one of my favorite directors and I will say that Grand Budapest Hotel is a favorite movie of mine as well. I remember I saw it alone in a D.C. theater during a time when I was pretty down and it was such a delight. I like to think of it as "hipster therapy."
Also I will proudly say that Luke Wilson and Jason Schwartzman are two of my all time celebrity crushes (I know you were probs expecting Brad Pitt or a boyband member but it is what it is). The Luke crush dates back all the way to his Home Fries days so you can imagine how stoked I was to watch Bottle Rocket.
Which brings me to the actual movie (with Luke looking prime 90s heartthrob FYI). I was distracted by the fact that this movie was the creation of a pair of college roommates who became what they are today. Could you imagine writing a script, making a movie and then taking Hollywood by storm with any of your college roomies?
Anyway, I was pleasantly surprised to see some early traces with the dry one liners and close-up shots of handwritten notes. I'm excited to see how his work develops chronologically as we watch his other movies!
Also, this movie is funny, which surprised me. I feel like it's not slapstick or even laugh out loud funny but it has this wit to it that I loved. Some favorite lines were:
"I can't come home, I'm an adult."
"What has she ever done with her life?!" – Dignan talking about Anthony's middle school sister.
"Bob's gone. He stole his car."
And the whole thing with the hotel boy telling Dignan to tell Anthony "I love you" was just great.
I'm glad you started with Dignan. He was such an interesting character. He is so delusional and self-centered yet I didn't hate him and didn't love him. He was a hard character for me to figure out or understand his motivations. Why does he even want to be a master thief? It felt like he didn't really have a solid answer himself. And though he was this delusional risk taker aiming for something he wasn't really good at, I liked that there was also a delusional nature in Anthony as well. I mean, who falls head over heels with a hotel cleaning lady in a day?
I obviously liked Anthony but his crayon drawings and obsession with Inez put him on a similar level to Dignan in imperfection. Both of them felt like these two characters in arrested development with Anthony, at least, having a better grasp on reality.
So I'll stop with my initial reactions. I have so many more!
BRIAN: I'm glad you touched on the humor in the film. It's a nice mix of wordplay and light slapstick. There are some broader jokes…
ANTHONY: What part of Mexico are you from?"
INEZ: Paraguay.
…but it's mostly listen-closely-or-you'll miss-them beats like you mentioned with Bob stealing his own car. It definitely shows you where Anderson's priorities are with Bottle Rocket. He's not interested in scoring a laugh at the expense of the characters. He wants the humor to build on what the audience already knows about the character dynamics. A lesser comedy would sell out Dignan for laughs, but Anderson doesn't, thereby keeping the character's humanity intact.
Take the scene where Future Man ridicules Dignan for looking like a "little banana" in his yellow jumpsuit. Anderson could have easily made Dignan's humiliation the source of the humor, but it's played fairly straight with Dignan reacting how most people would to a bully's taunts (ineffectually staring at his own feet). It's only afterwards when Anthony tries to cheer him up that the movie goes for humor.
DIGNAN: I'm not always as confident as I look.
ANTHONY: Did you see what he had on?
DIGNAN (mumbling): Yeah…it was pretty cool.
That's what's most enjoyable about Bottle Rocket. Even though Dignan and Anthony are deeply flawed and, like you said, stuck in a state of arrested development, they're not in the movie to be mocked. They're in the movie to be celebrated.
Dignan, Anthony, and the third spoke on their aimless tricycle, Bob, are eccentrics. They have no idea where their lives are headed (even though Dignan has a ridiculous 75-year plan). But, in my life, I find that the most boring people are the ones with their lives already figured out. I try to seek out the Dignans of the world because, frankly, they're more interesting to be around.
However, I want to go back to your thoughts on the movie's overall structure. Do you think the plot works on its own or, like me, do you find the story to be a complete mess.
DANIELLE: Yeah I'm gonna have to agree with you on the structure. I feel like we were placed into a story right in the middle of it, with parts of it missing. I had a hard time really getting how all of these people knew each other or why they did most of the things they did.
Not that I needed to know every detail of their lives to focus on the dynamics, but there were details missing that made everything random and the characters feel somewhat incomplete. Again I'm unclear of how being a thief even came into play.
I did find myself questioning what was the overall point that Anderson was trying to get across here. Was this just slackers trying to achieve delusional dreams and a few laughable scenes that Anderson/Wilson wrote and then just strung together? What are your thoughts on that?
BRIAN: I think the main problems stem from the character motivations. Anthony, Dignan, and Bob all have muddled motivations because they don't know what they want themselves, which leads to audience confusion. Even more than that, a lot of the early scenes are difficult to decipher.
During the first scene at Bob's house, for instance, there's almost no attempt made to explain who Future Man is, why he's called Future Man, or why everyone's chilling at a Frank Lloyd Wright house. The most egregious plot exemption, though, is the lack of a proper conclusion to the Anthony/Inez storyline. I definitely wanted another scene of the two of them reconnecting after the "I Love You" exchange over the phone.
I watched Bottle Rocket a couple of times, and the second time I just decided to let the plot glide over my head. That's the way to enjoy the movie. Once you stop worrying about plot and realize the characters are all fragile, aimless figures then it becomes a great character study. Even though the surface plot is distractingly thin, the two main characters, Anthony and Dignan, have satisfying arcs.
When Dignan declares, "They'll never catch me…'cause I'm fucking innocent" in the "2000 Man" chase scene at the end of the movie, it's a beautiful moment of clarity. It's him finally getting to be what he's been pretending to be for the entire film…a leader. He's not going to leave a man behind because he's the architect of the heist and only he can take responsibility for it.
Anthony letting Dignan rescue Applejack is important since the rest of the movie he's been protecting Dignan's emotional state by indulging in his crime spree delusions. By letting Dignan run into the arms of the police, Anthony's giving up his watchdog role in Dignan's life. That leaves him open to other experiences. That leaves him open to Inez.
And that's the point of the movie. Dignan starts out as Don Quixote and ends up as a responsible adult willing to atone for his crimes. Anthony goes from being an overly indulgent Sancho to an emotionally balanced adult who's open to having a healthy romantic relationship. As I'm typing this, I'm realizing the characters in the movie are pretty much our age, and I'm definitely not ready to be an emotionally balanced adult. BUT at least I'm not in prison!
This feels like a wrap-up so I'm going to go with it. Any final thoughts on Bottle Rocket, Danielle? Is there anything left you want to discuss?
DANIELLE: I think I agree with you on all of this. I'll add that there is that final scene in the jail yard where Dignan starts talking about an escape plan which makes it seem that he is just as delusional as ever. Then he smiles, acknowledging that he was joking, making us all realize that he isn't that delusional after all.
You're right. In the end by him getting caught, he gets to be the thief he wanted. It was never about being a good one or succeeding. I feel like it was more about that badass thief lifestyle. What proves you are more of a badass criminal than jail time?
In the end, both guys get what they had been searching for after all – Dignan got to make his wild fantasy a reality and gets to be the one to rescue Anthony for once (which we see him attempt to do in the mental institution), Anthony got to let go of the burden of watching out for Dignan and follow his heart, and Bob got someone to stick up for him to his awful brothers (even at the expense of having their house robbed).
So just to summarize my movie thoughts. I think this was a solid movie when you don't worry too much about structure and plot, as you said, and just watch it to be entertained. I think the choice of actors were pretty solid for these characters which is impressive given that these were just Anderson's buddies.
I may have enjoyed this out of love for Wes Anderson and the Wilson brothers but had it not been for them, it may not have been on my radar. Overall, solid movie and I'd recommend it to others.
BRIAN: I didn't even make the mental institution/heist connection, but, yeah, that's exactly what the movie's getting at. Dignan "saving" Anthony at the mental institution versus Dignan actually saving him at Hinckley Cold Storage.
Also, it's worth noting that this movie probably wouldn't have been made if not for mega-producer James L. Brooks. You'll know Brooks from bringing little TV shows into the world like The Mary Tyler Moore Show and The Simpsons and also from directing tiny movies like Terms of Endearment and Broadcast News. Brooks basically saw the original Bottle Rocket short Anderson and the Wilson brothers made at Sundance and decided to shepherd the feature length version through his production company Gracie Films.
Brooks served as a mentor to Anderson during the making of Bottle Rocket and he's only done that for two other filmmakers: Cameron Crowe for his directorial debut Say Anything and Kelly Fremon Craig for her directorial debut The Edge of Seventeen.
Wes Anderson and Cameron Crowe are now incredibly well-regarded filmmakers (give or take a little whitewashing in Aloha), but if you want to see the 2016 version of Bottle Rocket, it's definitely The Edge of Seventeen. The movie's also a bit of a structural mess with fascinating characters. Hailee Steinfeld definitely gives off Owen Wilson-level idiosyncratic charisma in the movie. Her character, Nadine, is disregarded by her family and the general public but manages to forge her own future by being an unrepentant oddball.
So that's my James L. Brooks-as-mentor double feature recommendation. Bottle Rocket and The Edge of Seventeen. Do it!
Next up, drain a glass of Scotch, light up a cigarette, and jump into the nearest swimming pool, because we'll be discussing Wes Anderson's Rushmore.
And as always…the Sarris Wheel spins on!
ABOUT THE AUTHORS: Danielle and Brian have been frenemies since their college years. Although Danielle is burning the midnight oil in Chicago and Brian is experiencing delusions of grandeur in Los Angeles, The Sarris Wheel has reunited them at last.
Kick back with Danielle at her blog, Wild Night In.
Published by bboltburg
The name's Brian Bolt. I'm the proprietor extraordinaire of "The Martini Shot", a blog about movies, TV, and other pieces of pop culture, and "The Sarris Wheel", a blog as obsessed with directors as I am. I graduated from the College of William and Mary and currently live in Los Angeles.	View all posts by bboltburg
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Kanye West Settles Divorce With Kim Kardashian, To Pay $200K Every Month In Child Support
TG Omori Finally Bows To Pressure, Invites Portable For Music Video Shoot
BBTitans: Having A Nonchalant Partner Led To My Eviction – Sandra
"I'll never forgive y'all" – Ayra Starr Laments As She Recounts Embarassing Moment With Nigerian Passport Officers
IVD Charged With Involuntary Manslaughter Over Bimbo's Death, Allegedly Remanded In Prison
Former American celebrity couple, Kanye West and Kim Kardashian have finalized their divorce after coming to an agreement about child custody and property.
Kim Kardashian And Kanye West Finalize Their Divorce
KanyiDaily recalls that Kim had filed for divorce from Kanye in February 2021, citing irreconcilable differences after nearly seven years of marriage. The couple had a lavish wedding in Italy in 2014.
The 42-year-old model and the 45-year-old rapper settled their divorce Monday, November 28, 2022, ironing out their custody and property issues, according to court documents.
As a part of the settlement, Kanye and Kim will get joint custody of their four children, but the model will continue to have their children 80 percent of the time.
Kanye was also asked to pay Kim $200,000 a month in child support starting Thursday, per the court filing. He will also be responsible for half of their kids' healthcare expenses not covered by insurance, as well as 50% of their security and education costs, including tuition.
The former couple has agreed to participate in mediation for at least three hours if a dispute arises. If one of them fails to engage, the other gets sole decision-making power, the filing states.
Some of the items the ex-partners must agree on include enrollment in a new school, therapy or counseling for the children, and participation in regularly scheduled religious activities, according to the document.
As for property, the division of assets is in alignment with Kanye and Kim's prenuptial agreement. Both the rapper and the model waived spousal support.
Kanye also relinquished the $4.5m home he bought across from Kim's house last year after she filed for divorce, saying he bought the house in other to be close to his children. Kim will be responsible for all expenses related to the 5-bedroom home.
The settlement also states that he gets to keep his $60m Malibu home, two ranches in Wyoming, 300 acres in Calabasas, a home in Belgium and his childhood home which he bought in Chicago.
KanyiDaily recalls that Kim Kardashian had insisted that she will always be family with her ex-husband, Kanye West, despite their divorce.
BREAKING: Police to arraign celebrity kidnapper, Lyon, today
How Lagos RCCG Pastor Was Killed – Brother Opens Up
"Beautiful On The Inside Too " – Yemi Alade Shares Sultry Photo
Farmer who killed steward to die by hanging in Delta
My Husband Must Have A Girlfriend – Nollywood Actress
2023: Oshiomhole plans to pair with northern candidate
Nigerian couple welcome their first child after 14 years of marriage (photos)


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redpajama_set_name: RedPajamaGithub


Every bulk carrier has a loading and operation manual providing information about the ship's cargo and ballast loading patterns, salient structural features and strength and any restrictions or limitations on operations.
Your priority must always be to ensure that the proposed cargo can be safely loaded, always ensuring that your vessel has adequate stability for all stages of the intended voyage. This is particularly important for grain cargoes in the event of multiple port discharging, to ensure that grain moments are within acceptable limits when proceeding between ports with partially filled cargo compartments.
The distribution of the cargo must always be such that the vessel's stress or bending limits are never exceeded as defined by the builder's manual. Again you must ensure that this is the case for all stages of your intended voyage. The most critical times are during loading and discharging operations when it must be ensured that the shore installation personnel are adhering to the predetermined loading or discharging programme to ensure that stress and bending limits are not exceeded.
Caution must also be exercised when loading or discharging in such a manner which requires any compartment to remain empty for any stage of the voyage, such as multiple port loading/discharging or carriage of heavy cargoes which require one or more of the vessel's holds to be empty. If there is any doubt that the vessel may be over stressed during loading or discharging, operations must be ceased immediately. Operations must not be recommenced until such time as the situation has been re-checked, and you are satisfied that operations can continue without danger to the vessel.
It is the Chief Officer's responsibility to carry out the necessary calculations to ascertain the vessel's stability and stress/bending moments. It is the responsibility of the Master to check and approve or amend these as he sees fit.
All ships engaged on international voyages are assigned with load line marks in accordance with the provisions of the International Load Line Convention 1966. The appropriate lines marked on the ship's side shall not be submerged at any time during the seagoing voyage. It is a statutory requirement that the ship is not to be loaded beyond the limits specified in its loadline certificate.
To allow for the difference between the dock water density and the sea water density, the ship may be loaded beyond the appropriate mark by the dock water allowance. The dock water allowance is only applicable in a port environment. It is a statutory requirement that the ship is not to be loaded beyond the limits specified in the Load Line Certificate.
The practice of inducing a hogging deflection of the hull girder by end hold(s) trimming to maximise the cargo carrying capacity of the ship to the appropriate marks is to be avoided as this may result in the over-loading of the end holds beyond the allowable limit and an increase in both the local and global stresses.
Operation of sea going bulk carriers involved numerous hazards . Careful planning and exercising due caution for all critical shipboard matters are important . This site is a quick reference to international shipping community with guidance and information on the loading and discharging of modern bulk carriers so as to remain within the limitations as specified by the classification society.
Copyright © 2010 www.bulkcarrierguide.com All rights reserved.


Your thoughts are like spiderwebs, the Point you start might not be the end Point but the most..
Sweet and gentle is the fragrance of our love! It caresses the soul with an aroma so pleasant and pure And provides us a way to fly away by air and..
Far within the depths of our souls, a child resides. Basking in freedom. Playing as if without a..
Fly with the birds not other people's words..
We love we hate, we laugh we cry, we fight we cuddle, we fall we fly, we sing we shout, We are near..
It never matters how far your mind can fly.. but to where its destiny is heading ..
Fly like a bird and land like a STAR!..


text:
Q: Saving and restoring state in android I have searched through this and a few other sites for the answer, but I have been unable to find it. I am trying to save a boolean and an int using onSaveInstanceState and onRestoreInstanceState, but I can't seem to get it to work. It doesn't crash or anything, but it either isn't saving it or it isn't restoring it, or I am stupid and have no idea what I am doing.

Here is what I have for my activity, do I need to have it in my onCreate somewhere or something?
public class CannonBlast extends Activity {
/** Called when the activity is first created. */
private panel panelStuffz;

@Override
public void onCreate(Bundle savedInstanceState) {
    final Window win = getWindow();
    super.onCreate(savedInstanceState);
    panelStuffz = new panel(this);
    requestWindowFeature(Window.FEATURE_NO_TITLE);
    win.setFlags(WindowManager.LayoutParams.FLAG_FULLSCREEN, WindowManager.LayoutParams.FLAG_FULLSCREEN);
    setContentView(panelStuffz);
}
@Override
public void onSaveInstanceState(Bundle savedInstanceState){
    savedInstanceState.putInt("HighLevel", panelStuffz.getLevel());
    savedInstanceState.putBoolean("soundstate", panelStuffz.getSound());
    super.onSaveInstanceState(savedInstanceState);
}

@Override
public void onRestoreInstanceState(Bundle savedInstanceState) {
    super.onRestoreInstanceState(savedInstanceState);
    panelStuffz.setHighLevel(savedInstanceState.getInt("HighLevel"));
    panelStuffz.setSound(savedInstanceState.getBoolean("soundstate"));
}

@Override
public void onResume(){
    super.onResume();
}

@Override
public void onPause(){
    super.onPause();
    panelStuffz.setThread(null);

}

@Override
public void onStop(){

}

I tried putting stuff in the onStop, but it crashes, which is why its empty, in case that matters, thanks in advance

A: Many applications may provide a way to capture user preferences on the settings of a specific application or an activity. For supporting this, Android provides a simple set of APIs.
Preferences are typically name value pairs. They can be stored as "Shared Preferences" across various activities in an application (note currently it cannot be shared across processes). Or it can be something that needs to be stored specific to an activity.

*

*Shared Preferences: The shared preferences can be used by all the components (activities, services etc) off the applications.

*Activity handled preferences: These preferences can only be used with in the activity and can not be used by other components of the application.
Shared Preferences:
The shared preferences are managed with the help of getSharedPreferences method of the Context class. The preferences are stored in a default file(1) or you can specify a file name(2) to be used to refer to the preferences.
(1) Here is how you get the instance when you specify the file name
public static final String PREF_FILE_NAME = "PrefFile";
   SharedPreferences preferences = getSharedPreferences(PREF_FILE_NAME, MODE_PRIVATE);

MODE_PRIVATE is the operating mode for the preferences. It is the default mode and means the created file will be accessed by only the calling application.  Other two mode supported are MODE_WORLD_READABLE and MODE_WORLD_WRITEABLE. In MODE_WORLD_READABLE other application can read the created file but can not modify it. In case of MODE_WORLD_WRITEABLE other applications also have write permissions for the created file.
(2) The recommended way is to use by the default mode, without specifying the file name
SharedPreferences preferences = PreferencesManager.getDefaultSharedPreferences(context);

Finally, once you have the preferences instance, here is how you can retrieve the stored values from the preferences:
 int storedPreference = preferences.getInt("storedInt", 0);

To store values in the preference file SharedPreference.Editor object has to be used. Editor is the nested interface of the SharedPreference class.
SharedPreferences.Editor editor = preferences.edit();
editor.putInt("storedInt", storedPreference); // value to store
editor.commit();

Editor also support methods like remove() and clear() to delete the preference value from the file.
Activity Preferences:
The shared preferences can be used by other application components. But if you do not need to share the preferences with other components and want to have activities private preferences. You can do that with the help of getPreferences() method of the activity. The getPreference method uses the getSharedPreferences() method with the name of the activity class for the preference file name.
Following is the code to get preferences
SharedPreferences preferences = getPreferences(MODE_PRIVATE);
int storedPreference = preferences.getInt("storedInt", 0);

The code to store values is also same as in case of shared preferences.
SharedPreferences preferences = getPreference(MODE_PRIVATE);
SharedPreferences.Editor editor = preferences.edit();
editor.putInt("storedInt", storedPreference); // value to store
editor.commit();

You can also use other methods like storing the activity state in database. Note Android  also contains a package called android.preference. The package defines classes to implement application preferences UI.
To see some more examples check Android's Data Storage post on developers site.

A: This method is only for saving state associated with a current instance of an Activity,are you switching to another activity and trying to get the values again when you return to this activity? i supposed that :: "I tried putting stuff in the onStop, but it crashes".
a recommendation, is NOT SAFE to use onSaveInstanceState() and onRestoreInstanceState(), according to  http://developer.android.com/reference/android/app/Activity.html
consider using  Sharedpreferences or SQLite database.
SharedPreferences Example (from webworld):
 /**
   * get if this is the first run
   *
   * @return returns true, if this is the first run
   */
      public boolean getFirstRun() {
      return mPrefs.getBoolean("firstRun", true);
   }

   /**
   * store the first run
   */

   public void setRunned() {
      SharedPreferences.Editor edit = mPrefs.edit();
      edit.putBoolean("firstRun", false);
      edit.commit();
   }

   SharedPreferences mPrefs;

   /**
   * setting up preferences storage
   */
   public void firstRunPreferences() {
      Context mContext = this.getApplicationContext();
      mPrefs = mContext.getSharedPreferences("myAppPrefs", 0); //0 = mode private. only this app can read these preferences
   }

redpajama_set_name: RedPajamaStackExchange


During Our Geosphere unit, students were assigned a National Park to research. They learned about the natural processes that formed their park, as well as the landforms that can be enjoyed today. Please enjoy their projects in the video below.
Thanks to 22 geological questions and our great research, we found her in Yellowstone National Park!


Selles-Saint-Denis is a commune in the Loir-et-Cher department of central France.
The Rère River flows west through the southern part of the commune.
Wikimedia Commons has media related to Selles-Saint-Denis.
This page was last edited on 28 March 2018, at 14:32 (UTC).


text:
Sound Design for Schools
Live Webinars for schools now available with David Sonnenschein, author "Sound Design"
Previous to publication of David Sonnenschein's textbook "Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema," there existed a significant gap in most audiovisual academic programs. Although they addressed the technology of sound recording, editing and mixing, there was little to offer in the area of aesthetics and how sound impacts the story and audience on a psychoacoustic level. Student screenwriters, directors and producers had few resources for learning how sound could help empower their films. Sound editing students lacked guidance in building necessary creative strategies to become accomplished sound designers and deliver top quality soundtracks.
Now "Sound Design" is successfully incorporated into the curricula of schools all over the world, offering the theory, philosophy and application of creative sound design. In addition, the book has 5-star reader ratings on Amazon.com and is #1 on Google for "sound design" books. It focuses on developing the much-needed know-how and communication skills required in the entire media environment.
THE SOUND DESIGNER – Builds motivation, peak performance and understanding of the psychology of sound and sonic storytelling, with specific exercises to refine listening, composition and creativity skills.
COLLEAGUES – Clarifies the roles of writer, production designer, picture editor and music composer, and how the sound designer can effectively collaborate with these co-creators.
EMPLOYER – Empowers the sound designer to hit the mark every time with the boss (director, producer or client), encouraging efficient communication, promotions and re-hiring.
AUDIENCE – Delivers ultimate satisfaction by reaching the public with the intended message, sonically fortifying the visuals, actors and story with realism and emotional depth.
BEYOND THE BOOK TO WEBINARS
An even greater learning result can be achieved with a presentation that incorporates audiovisual examples to illustrate the principles, and listening and creative audio assignments that develop students' abilities to work effectively with sound.
The most powerful teaching tool occurs with the engagement of students in their own creative process, accompanied by direct feedback from a knowledgeable and inspiring mentor. After teaching in dozens of American, European and Asian classrooms for over a decade, David Sonnenschein now offers this service to all sound design students anywhere on the globe through his real-time, online webinars.
Watch the 4 min. Sound Design for Pros video to experience David in action:
COURSE OPTIONS FOR SCHOOLS
Several forms of Sound Design instruction are available, both online and on site, including:
– Single guest lecture
– Guest lecture series with student participation
– Full course integrated in current school curriculum
– Live interactive coaching on students' works-in-progress
– Pre-recorded course presentations (e.g. SoundDesignForPros six-week webinar recordings)
David will develop the ideal Sound Design presentation for your students and curriculum. Please email him directly at dsonn22@gmail.com.
Lectures / Courses given by David Sonnenschein
Academy of Art University, San Francisco
Video Symphony, Burbank CA
California State University Northridge, Los Angeles
Association for Educational Communication and Technology (AECT)
UCLA, Architecture Dept., Los Angeles
San Francisco State University, Broadcast and Electronic Communication Arts
Globe Institute of Recording and Psychoacoustics, San Francisco
Cogswell Polytechnical College, Silicon Valley CA
ISELA (Institute of Spiritual Cinema – LA)
MGLA (Motion Graphics LA)
Zaki Gordon Institute for Independent Filmmaking, Sedona AZ
Banff Mountain Film Festival, Canada
Audio Engineering Society, Canada
Independent Feature Project West, Los Angeles
Winter Brain Conference, Palm Springs CA
Filmmakers Alliance, Los Angeles
StoryCon, Palm Springs CA
American Film Institute, Los Angeles
Occidental College, Los Angeles
Cyberarts International, San Francisco
Academia Internacional de Cinema, Rio de Janeiro, Brazil
Universidade Estacio de Sa, Rio de Janeiro, Brazil
Escuela Internacional de Cine y TV, Cuba
Huddersfield University, UK
British Film Institute, UK
South East Essex College, UK
University of Edinburgh, UK
Leeds International Music Technology Education Conference: Sound-Image-Space, UK
Sounding Out, Staffordshire University, UK
NRK Broadcasting Studio, Oslo, Norway
22nd Nordic Sound Symposium, Bolkesjo, Norway
KHM, Academy of Media Arts, Cologne, Germany
WDR Broadcasting Studio, Cologne, Germany
ESMAE – Escola Superior de Música e das Artes do Espectáculo, Porto, Portugal
Tokyo National University of Fine Arts and Music
Hong Kong Academy for Performing Arts
Here's what educators and students say about David's classes:
"Beyond mere technical jargon, in accessible and eloquent language David opens creative gateways for dramatic storytelling through the potent and inventive use of sound. His book is of enormous merit that should prove useful not only to sound editors, but to all film artists and, indeed, anyone who cherishes a good movie."
— Richard Walter, Chairman, UCLA Screenwriting Dept. Author, Screenwriting: The Art, Craft and a Business of Film and Television Writing
"Great book to teach with! I use this book in my Sound Design class at the U. of Saint Francis. It is a great foundation upon which you can build confidence in your inexperienced students just by having them read the book! Also it helps make sense out of the confusion of directors dealing with sound and audio crew. This book has made my teaching job a lot easier and the students of my class a lot more savvy in sound design. Thanks David Sonnenschein for writing it!
— Prof. Kenny Bergle, University of Saint Francis, IN, USA
"An in-depth study of sound. I work daily in audio drama, where sound is the only way to convey a story. I think it's a perfect book for anyone involved in the arts, be it film, stage, audio or multi-disciplines. From the physical affects of sound not only on the ear, but on the body and the psyche, to how sound can help (or even destroy) the story you're trying to tell, Sonnenschein covers it all. He delves into what can compel and repel; what can cause comfort and debilitating dread."
— Sable Jak, author Writing the Fantasy Film
"David Sonnenschein's book is legendary, and the interactive webinar which presents and analyzes examples of the theory, truly brings the material to life. His approach gives sound designers a framework for making informed design decisions, to the benefit of their audiences, clients, and the stories they help to tell."
— Nathan Moody, NoiseJockey.net
"Oracle of Sound! This is a fantastic book. David Sonnenschein is an oracle of sound. I really like the way that he covers both the commercial applications of designing sound and music for Film & Media and also the creative and even spiritual dimensions of working with sound & music. Speaking as someone who works within this sector, if one day I have anything like the understanding of sound that Sonnenschein has, I will be a happy man! If you are new to sound design, get this book – it is easy to read, accessible and extremely informative. If, on the other hand, you are an experienced musician or sound designer, get this book – you will learn things that you may not have even considered before and find the inspiration to try new things. If you work or are interested in working in this field – I can't recommend it enough. Carry it with you on the train, have it handy in the studio, go to bed with it under your pillow! Just get it."
— Darren Leigh Purkiss, London, UK
"Perfect on every level. With my attempt at becoming a Sound Designer I've found that there are not many books that pin-point all the aspects as this one does. Mr. Sonnenschein has written my Bible! Beginning to end this book is packed with specific examples from many different types of film and comments from the top people in the business. It also gives you projects that can be done on your own. It covers everything that can be heard on a soundtrack. An absolute MUST for anyone interested in sound design and should be required reading for anyone involved in film."
— Scott D. Parker, San Gabriel, CA USA
"For all film/video professionals, not just audio technicians. This is one of the most eye (I mean EAR) opening and fascinating books I have looked at for a long time. I am an animation producer, and admittedly have always taken a hit-and-miss, often formulaic approach to sound as something secondary in importance to the visuals. This book changed my thinking. It provides a clear foundation in the narrative power of sound and music, is written with great insight and passion, and includes thought-provoking and playful exercises that you can't resist trying!"
— Larry Feign, cartoonist and author, Hong Kong
"In Summer 2005 David Sonnenschein led an enthusiastic and inspiring sound design seminar at WDR in Cologne, inviting an interdisciplinary group of people from all areas of radio and television broadcasts and productions. The principles of creation, editing, montage and mix of sounds were very useful for different media situations, in cultural radio, sound art, feature and radio drama, jingles and trailers, as well as for members of the graphic design department, television editors and directors of narrative and scientific themes.
From the beginning David did research about the special needs and expectations of the individual participant, and systematically worked down all the relevant themes for their specialized perspectives. He informed well, analyzed many examples and explored new possibilities for their everyday work. We benefited from the well-arranged content of his wonderful book, which is in a class by itself amongst sound design texts. David's many experiences as musician, director, sound designer and sound philosopher, combined with his intercultural knowledge and being a gifted teacher, brought us in short time span into a deep understanding and very applicable workflow for sound in media – not limited to film or radio, but encompassing today's cross media publishing and producing.
I came back to our school of media with many valuable insights, strategies and quality knowledge. We use his book and ideas since then in many courses, from beginning sound work to professional teamwork and innovative productions, forward to our Sound Studies in our Master Program, with themes of audiovisual composition and acoustic communication. His thorough work flow description helped many students along the planning and working phase of in-depth sound design, his ideas are vital energies for all kind of situations in design and his well-written texts help as a reliable companion and handbook for teaching and practice.
We enjoy too David's new appearance online, where he transforms his experience into webinars and interactive situations all over the world. We hope to join him there more often in the future, especially as our school and teachers welcome and research on e-learning configurations very much.
Thank you, David, for your long time inspiration and support, from the distance, but very present in our learning conversations and new abilities."
— Prof. Hans Ulrich Werner, sound designer and soundscape author with Wester German Broadcast WDR in Cologne, teaching sound design and acoustic communication at University of Applied Sciences, Media Department, in Offenburg.
One Comment on "Sound Design for Schools"
David Sonnenschein Special: Sonic Strategies Says:
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Working from home is on the rise, so whatever size space you have to call your office – we can help!
This contemporary home-office is simple, yet effective. The thicker partitions and shelving give a modern feel to a sleek design.
We have built customised shelving in a combination of matt White and Bordalino Oak, with Stone Grey backs. Combining the finishes in this way gives a level of interest, and we have so many finishes to choose from.
We have incorporated plenty of space for filing, reference books & the occasional family picture.
With 50% of UK workforce to work remotely by 2020*, plan ahead and speak to one of our Designers!


1908. Contents: angel of the presence; survey of scripture references to angelic ministrations; holy angels in relation to god and man; holy angels in regard to their corporate state and life; seraphim; cherubim; angels round the throne in worship and praise; certain characteristics of the holy angels; conception of angels as represented in art; visitants and messengers; guardian angels; angels of good tidings and joy; ministering angels; angels of victory; voice of the archangel. Handsomely illustrated. --This text refers to an alternate Paperback edition.


- Gems of California scenery, no. 1272.
Lawrence & Houseworth, Publisher. South Yuba River and Canyon - From the Central Pacific Railroad . , 1866. [Published] Photograph. https://0-www.loc.gov.oasys.lib.oxy.edu/item/2002723816/.
Lawrence & Houseworth, P. (1866) South Yuba River and Canyon - From the Central Pacific Railroad . , 1866. [Published] [Photograph] Retrieved from the Library of Congress, https://0-www.loc.gov.oasys.lib.oxy.edu/item/2002723816/.
Lawrence & Houseworth, Publisher. South Yuba River and Canyon - From the Central Pacific Railroad . [Published] Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/2002723816/>.


Father's Day was inaugurated in the United States in the early 20th century to complement Mother's Day in celebrating fathers, fathering, and fatherhood.
In 1911, Jane Addams proposed a citywide Father's Day in Chicago, but she was turned down.
The U.S. Open golf tournament is scheduled to finish on Father's Day, as was the 2016 NBA Finals. The FireKeepers Casino 400 NASCAR auto race at Michigan International Speedway is sometimes held on Father's Day.
^ "Father's Day". USA.gov. Archived from the original on August 11, 2014.
^ a b c d e Schmidt, 1997, p. 276.
^ "Father's Day (United States)". University of Kansas Medical Center. Archived from the original on July 1, 2008.
^ Butler, Joey (June 18, 2010). "Father's Day has Methodist ties". The United Methodist Church. Retrieved June 17, 2015. In 1909 in Spokane, Wash., Sonora Smart Dodd listened to a Mother's Day sermon at Central Methodist Episcopal Church. Dodd's own mother had died 11 years earlier, and her father had raised their six children alone. Dodd felt moved to honor her father, and fathers everywhere, with a special day as well. She proposed her idea to local religious leaders, and gained wide acceptance. June 19, 1910, was designated as the first Father's Day, and sermons honoring fathers were presented throughout the city.
^ a b Barth, Kelly (June 21, 1987). "First Father's Day service in 1908". Dominion Post. Morgantown, West Virginia. Retrieved November 7, 2006.
^ "H. RES. 1274. Commending Sonora Smart Dodd for her contribution in recognizing the importance of Father's Day and recognizing the important role fathers play in our families" (PDF). Library of Congress. June 12, 2008.
Myers, Robert J. (1972). Hallmark Cards, Inc. (ed.). Celebrations: The Complete Book of American Holidays (1st ed.). New York City: Doubleday & Company. pp. 184–187. ISBN 978-0385076777.
Schmidt, Leigh Eric (1995). Consumer Rites: The Buying & Selling of American Holidays. Princeton, New Jersey: Princeton University Press. ISBN 978-0691029801.
Larossa, Ralph (1997). The Modernization of Fatherhood: A Social and Political History. Chicago: University of Chicago Press. pp. 89–90. ISBN 978-0226469041.
Larossa, Ralph (1997). The Modernization of Fatherhood: A Social and Political History. Chicago: University of Chicago Press. pp. 170–192. ISBN 978-0226469041.


text:
$75 Million Plant a 'Very Big Bump' for Geneva
FILLMORE COUNTY — Officials from the state and local level Friday helped kick off a $75 million anhydrous ammonia plant that will be built near Geneva.
Gov. Pete Ricketts visited the site for a groundbreaking ceremony, praising Fortigen LLC's new venture as the perfect intersection of two top industries in Nebraska — agriculture and manufacturing.
"When we're talking about growing Nebraska, this is exactly what we need," he said. "It's about Nebraskans coming together."
Geneva Mayor Rod Norrie said it was a community effort with lots of players behind the scenes working to make the new plant possible. He said the plant will be a huge economic boost to the community.
"It's a great way to grow Geneva," he said. "The excitement in the community is huge, as well."
Nebraska Sen. Laura Ebke was excited about the plant coming to the area.
"This is a great day for District 32," she said. "These are the kinds of things we need to be doing."
Representatives from the offices of U.S. Sens. Deb Fischer and Ben Sasse and Congressman Adrian Smith also attended the groundbreaking.
The plant will be built on about 15-20 acres on the eastern edge of Geneva and will open next year.
In talking with Fortigen representatives, Norrie said he's gotten the sense that they want to help the community, not just see what they can get out of the city.
"I think they're going to be a great addition to the community," Norrie said. "It'll be great to see equipment show up out here."
Shawn Rana, CEO of Fortigen LLC, said the $75 million project will produce anhydrous ammonia fertilizer for local farmers. About 150-200 construction jobs will be created to build the plant with another 25-30 full-time jobs needed once the plant is up and operational.
Eric Kamler, president of the Geneva Chamber of Commerce and president of Fillmore County Development, said the jobs will be high-paying, good quality jobs.
"It will be a very big bump to the community," he said.
CEO David Scott of Tetrad Corp., which owns Fortigen, thanked local leaders for their hospitality and for welcoming Fortigen into the community. He stressed the importance of working with local partners to make such ventures successful.
"You guys have been great to us," Scott said. "We look forward to continuing the growth of this operation."


Featuring Darth Vader and Boba Fett, as if puppet characters created by Jim Henson. Contains profanity.
One of my favorite scenes from The Empire Strikes Back is the bounty hunter lineup scene, in which Vader, while explaining how he wants the Millennium Falcon found, points at Boba Fett and says, "No disintegrations."
I always wondered exactly why Vader pointed at Boba when he said this. Was he simply aware of some reputation Fett had as being a "disintegrator"? Seems to me that if Fett was such a successful bounty hunter, one of the things he'd have to do is make sure NOT to disintegrate when instructed not to.
with each other earlier in their lives.
(Fade in. VADER and FETT are sitting in their nursery.
NANNY: Hey kids! Guess what?
FETT: (eyeing CHESTER suspiciously) Ehhh . . . no!
NANNY: Oh, now Boba! Be nice to your new friend!
FETT: Ehhh . . .
CHESTER: Nnnngghhfffff . . .
NANNY: (from outside) What in the name of!? . . .
NANNY: Which one of you disintegrated Chester?!
FETT: (pointing to VADER) Him!
VADER: (pointing to FETT) Nuh-uh! Him!
to get Boba in trouble like that.
FETT: Yeah, Darth, you should be ashamed of yourself.


For many of the 4 to 12 million people in the US living with Interstitial Cystitis (also known as IC, painful bladder syndrome, chronic pelvic pain, or bladder pain syndrome) sticking to a certain bladder-friendly diet allows them to keep their pain in check.
The extensive lists of 'foods to avoid' can be discouraging, and trying to only eat the 'safe foods' can make some people afraid to even eat anything!
It can also be difficult to find bladder-friendly recipes online or elsewhere for those living with Interstitial Cystitis.
That's exactly what led 180 Medical employee Trish who has IC, to get creative and make up some of her own recipes that are tasty and easy on the bladder. Because she could not find a mango salsa recipe without spicy peppers, lime, or citrus, she decided to make her own!
Wash and cut peppers in half, clean out the seeds.
Peel, wash, chop the onion, chop the peppers, put them all in a bowl.
Chop the mango, clean the seeds.
Place the mango into the bowl with the other veggies, stir them together, then add a teaspoon or a splash of olive oil, two small pinches of sea salt, and one to two turns of ground black pepper (depending upon what your bladder can tolerate).
Stir everything together, and chill until served.
Serve with grilled salmon, tacos, corn chips, chicken—you name it!
Even though there is currently no known cure for Interstitial Cystitis, there are many treatments that can help minimize symptoms. Eating foods that cause less bladder irritation is a great start! Keep in mind that the different foods and beverages which impact bladder symptoms are unique for each person living with IC, so you might have to try many different options before you find the right diet for your own needs.
Since many of our customers live with conditions that require them to use catheters, such as spinal cord injury, bladder health is a core focus here at 180 Medical. If you are suffering through the symptoms of Interstitial Cystitis, know that you are not alone in your personal journey.
Do you have any favorite recipes from your Interstitial Cystitis diet that you'd like to share? Send them over to us so we can continue sharing bladder-friendly recipes with the IC community!
September is Interstitial Cystitis Awareness Month. Find out more about this chronic condition that is often characterized by bladder pain.


text:
Business Diversification
Construction / Development
Lockers / PUDO
Sorting Systems
Vehicles / Fleet
In this Issue – December 2020
In this Issue – September 2020
In this Issue – June 2020
You are at:Home»News»Delivery»DPD accelerates emissions-free deliveries
DPD accelerates emissions-free deliveries
By Lawrence Butcher on	 October 5, 2020 Delivery, Parcels, Sustainability
Courier specialist DPD has announced plans to deliver to 25 of the largest towns and cities in the UK with zero- and low-emission delivery means by 2025. The move is part of a Europe-wide drive by the group involving 225 urban areas in 20 countries, and is based on a delivery model trialed in cities including London. The company says it has rethought the way it operates last-mile delivery by implementing micro and urban depots as well as other appropriate alternative delivery solutions.
The result of the UK and European projects will be, the company hopes, that more than 260 million parcels or 17% of the Group's volumes should be delivered by zero- or low-emission vehicles by the end of 2025, with CO2 emissions decreasing by 89% and pollutants by 80%, compared with 2020 in the targeted towns and cities. To achieve this, DPD says it will deploy 7,000 new alternative vehicles, 3,600 charging points and 80 new urban depots across Europe.
New alternative fleets will comprise various vehicles, depending on the town or city center, delivery needs and regulation constraints. In the UK, DPD already has more than 700 EVs including MAN eTGE, Nissan e-NV200 and 7.5t Fuso eCanters and has recently announced trials with LEVC and Volta Trucks.
Dwain McDonald, DPD's CEO, commented, "This is a hugely significant announcement from DPDgroup and we are very proud to be playing such a key role here. We've led the way on EVs in the UK parcel market, first with our all-electric micro depots in London and then with the scale of our nationwide investment. We are very conscious of our responsibility to the planet and its people, and we aim to be the most sustainable delivery company in the UK and Europe. We were among the first to put our hands up and acknowledge our part in climate change issues and since then we have put our hand in our pocket and started investing in the solution."
Lawrence Butcher, web editor
Lawrence has been covering engineering subjects – with a focus on motorsport technology – since 2007 and has edited and contributed to a variety of international titles. Currently, he is responsible for content across UKI Media & Events' portfolio of websites while also writing for the company's print titles.
Hermes invests in new UK depot to address rising demand
Alibaba's logistics arm launches container booking service
An Post becomes first Irish logistics company to join EV100 initiative


text:
Asteroid rotation and orbit control via laser ablation
Massimo Vetrisano, Camilla Colombo, Massimiliano Vasile
This paper presents an approach to control the rotational motion of an asteroid while a spacecraft is deflecting its trajectory through laser ablation. During the deflection, the proximity motion of the spacecraft is coupled with the orbital and rotational motion of the asteroid. The combination of the deflection acceleration, solar radiation pressure, gravity field and plume impingement will force the spacecraft to drift away from the asteroid. In turn, a variation of the motion of the spacecraft produces a change in the modulus and direction of the deflection action which modifies the rotational and orbital motion of the asteroid. An on-board state estimation and control algorithm is then presented that simultaneously provides an optimal proximity control and a control of the rotational motion of the asteroid. It will be shown that the simultaneous control of the rotational and proximity motions of asteroid and spacecraft has a significant impact on the required deflection time.
Advances in Space Research
https://doi.org/10.1016/j.asr.2015.06.035
Published - 15 Apr 2016
state estimation
gravity field
impingement
radiation pressure
asteroid deflection
asteroid rotation control
proximity operation
rotational dynamics
spacecraft control
Vetrisano, M., Colombo, C., & Vasile, M. (2016). Asteroid rotation and orbit control via laser ablation. Advances in Space Research, 57(8), 1762–1782. https://doi.org/10.1016/j.asr.2015.06.035
Vetrisano, Massimo ; Colombo, Camilla ; Vasile, Massimiliano. / Asteroid rotation and orbit control via laser ablation. In: Advances in Space Research. 2016 ; Vol. 57, No. 8. pp. 1762–1782.
@article{9a5042f7730443e9819d34bfe5e84ebf,
title = "Asteroid rotation and orbit control via laser ablation",
abstract = "This paper presents an approach to control the rotational motion of an asteroid while a spacecraft is deflecting its trajectory through laser ablation. During the deflection, the proximity motion of the spacecraft is coupled with the orbital and rotational motion of the asteroid. The combination of the deflection acceleration, solar radiation pressure, gravity field and plume impingement will force the spacecraft to drift away from the asteroid. In turn, a variation of the motion of the spacecraft produces a change in the modulus and direction of the deflection action which modifies the rotational and orbital motion of the asteroid. An on-board state estimation and control algorithm is then presented that simultaneously provides an optimal proximity control and a control of the rotational motion of the asteroid. It will be shown that the simultaneous control of the rotational and proximity motions of asteroid and spacecraft has a significant impact on the required deflection time.",
keywords = "asteroid deflection, asteroid rotation control, proximity operation, rotational dynamics, spacecraft control",
author = "Massimo Vetrisano and Camilla Colombo and Massimiliano Vasile",
doi = "10.1016/j.asr.2015.06.035",
pages = "1762–1782",
journal = "Advances in Space Research",
Vetrisano, M, Colombo, C & Vasile, M 2016, 'Asteroid rotation and orbit control via laser ablation', Advances in Space Research, vol. 57, no. 8, pp. 1762–1782. https://doi.org/10.1016/j.asr.2015.06.035
Asteroid rotation and orbit control via laser ablation. / Vetrisano, Massimo; Colombo, Camilla; Vasile, Massimiliano.
In: Advances in Space Research, Vol. 57, No. 8, 15.04.2016, p. 1762–1782.
T1 - Asteroid rotation and orbit control via laser ablation
AU - Vetrisano, Massimo
AU - Colombo, Camilla
AU - Vasile, Massimiliano
N2 - This paper presents an approach to control the rotational motion of an asteroid while a spacecraft is deflecting its trajectory through laser ablation. During the deflection, the proximity motion of the spacecraft is coupled with the orbital and rotational motion of the asteroid. The combination of the deflection acceleration, solar radiation pressure, gravity field and plume impingement will force the spacecraft to drift away from the asteroid. In turn, a variation of the motion of the spacecraft produces a change in the modulus and direction of the deflection action which modifies the rotational and orbital motion of the asteroid. An on-board state estimation and control algorithm is then presented that simultaneously provides an optimal proximity control and a control of the rotational motion of the asteroid. It will be shown that the simultaneous control of the rotational and proximity motions of asteroid and spacecraft has a significant impact on the required deflection time.
AB - This paper presents an approach to control the rotational motion of an asteroid while a spacecraft is deflecting its trajectory through laser ablation. During the deflection, the proximity motion of the spacecraft is coupled with the orbital and rotational motion of the asteroid. The combination of the deflection acceleration, solar radiation pressure, gravity field and plume impingement will force the spacecraft to drift away from the asteroid. In turn, a variation of the motion of the spacecraft produces a change in the modulus and direction of the deflection action which modifies the rotational and orbital motion of the asteroid. An on-board state estimation and control algorithm is then presented that simultaneously provides an optimal proximity control and a control of the rotational motion of the asteroid. It will be shown that the simultaneous control of the rotational and proximity motions of asteroid and spacecraft has a significant impact on the required deflection time.
KW - asteroid deflection
KW - asteroid rotation control
KW - proximity operation
KW - rotational dynamics
KW - spacecraft control
U2 - 10.1016/j.asr.2015.06.035
DO - 10.1016/j.asr.2015.06.035
JO - Advances in Space Research
JF - Advances in Space Research
Vetrisano M, Colombo C, Vasile M. Asteroid rotation and orbit control via laser ablation. Advances in Space Research. 2016 Apr 15;57(8):1762–1782. https://doi.org/10.1016/j.asr.2015.06.035
10.1016/j.asr.2015.06.035
ASR-D-14-00271-Paper ReviewMf_CC_03_rev2Accepted author manuscript, 5 MB


Inspired by the piece Firework Text (Pasolini) 1999 by artist, Cerith Wyn Evans which depicts a wooden structure of text burning over a period of time, Rossanne produced Why fire makes us human. This series explores the importance of fire and language to the human condition and evolution; wherever humans have gone in the world, they have carried with them these two things. The process of fireworks burning in itself has its own morse code-like language, able to transport people to a place in time, space and memory.


text:
Le  () (parfois , , ou de façon francisée lemoncello) est une liqueur de citron originaire d'Italie, produite notamment dans la péninsule de Sorrente  et de Capri, ainsi qu'en Sicile, Sardaigne, Calabre, sur l'île d'Ischia, en Ligurie, etc.

En Campanie, le  bénéficie d'une appellation au titre des produits agroalimentaires traditionnels italiens. C'est un produit à base de zestes de citron, d'alcool, d'eau et de sucre. Il est de couleur jaune brillant, doux et citronné. Le  est un produit obtenu par macération d'écorces de citron dans l'alcool. Doux et aromatique, il peut être servi en apéritif, mais sa destination habituelle est en digestif, servi glacé et également sous forme de cocktail (limonette,...).

Histoire
Il existe plusieurs histoires sur l'origine du limoncello. Le  a écrit que le limoncello a été inventé en Sicile il y a environ .

Production

Contrairement à beaucoup d'autres liqueurs, le  est facile à produire et peu cher, ne nécessitant que du sucre, de l'eau, des zestes de citron, de l'alcool et du temps de maturation. Le  maison a souvent un goût de citron plus fort et plus prononcé que ceux vendus en magasin mais, pour ce faire, il faut utiliser de l'alcool pur à  (la vodka à  n'extrayant pas toutes les huiles essentielles du zeste).

Différentes variétés de citron sont utilisées pour produire différents goûts. La variété des fruits est souvent dictée par la région de production, les citrons d'Amalfi produisent un  particulièrement plaisant. Divers alcools peuvent être utilisés pour varier les goûts. La grappa est parfois utilisée, comme l'alcool pur. Un alcool plus raffiné maximise le goût de citron, alors que des alcools plus concentrés y ajoutent de la complexité. Des sucres de plus haute qualité utilisés dans l'infusion créent une liqueur plus douce. Le  peut être produit artisanalement en faisant macérer pendant  des zestes de citrons non traités dans de l'alcool à 90°. Il faut ensuite y ajouter un sirop de sucre, laisser macérer, puis filtrer le mélange obtenu.

Service
Il est traditionnel de servir le  froid comme digestif. Le long de la côte amalfitaine, il est servi dans de petits verres en céramique, refroidis eux-mêmes, la côte d'Amalfi étant un centre de la céramique. Cette tradition s'est répandue dans d'autres parties de l'Italie. Et traditionnellement, dans certaines régions d'Italie, on trempe une tranche de  dans le .

Hors d'Italie
Le  est commun en Italie mais n'a acquis que récemment de la popularité dans d'autres parties du monde. Il devient aussi populaire pour des cocktails, car il apporte un goût de citron fort sans l'acidité ou l'amertume du jus de citron lui-même.

Liqueurs similaires
De nombreuses liqueurs similaires sont produites hors d'Italie, notamment à Menton en France, sur l'île maltaise de Gozo ou en Corse. Certaines liqueurs sont de légères variations, d'autres utilisent du jus de citron, et d'autres encore d'autres agrumes, voire un procédé d'infusion.

La crème de , qui est faite avec du lait ou des produits laitiers, pour donner une texture crémeuse et adoucir le goût du citron, est également très appréciée. On trouve communément des produits faits de la même manière, mais utilisant d'autres agrumes comme l'orange (), le tangelo () ou la mandarine.

En Italie, différentes liqueurs de citron produites principalement dans les régions italiennes de la mer Tyrrhénienne, et plus largement dans le Mezzogiorno existent, mais n'ont pas le droit à l'appellation . On rencontre donc des dénominations comme , , ,

Notes et références

Articles connexes
 Limone Costa d'Amalfi
 Limone di Sorrento

Liqueur
Boisson italienne
Boisson au citron
Produit agroalimentaire traditionnel en Campanie

redpajama_set_name: RedPajamaWikipedia


FTP is built on a client-server architecture and uses separate control and data connections between the client and the server. FTP users may authenticate themselves using a clear-text sign-in protocol, normally in the form of a username and password, but can connect anonymously if the server is configured to allow it. For secure transmission that hides (encrypts) the username and password, and encrypts the content, FTP is often secured with SSL/TLS ("FTPS"). SSH File Transfer Protocol ("SFTP") is sometimes also used instead.
The protocol was first specified June 1980 and updated in RFC 959, which is summarized here.
The server responds over the control connection with three-digit status codes in ASCII with an optional text message. For example "200" (or "200 OK") means that the last command was successful. The numbers represent the code for the response and the optional text represents a human-readable explanation or request (e.g. ). An ongoing transfer of file data over the data connection can be aborted using an interrupt message sent over the control connection.
FTP may run in active or passive mode, which determines how the data connection is established. In active mode, the client creates a TCP control connection to the server and sends the server the client's IP address and an arbitrary client port number, and then waits until the server initiates the data connection over TCP to that client IP address and client port number. In situations where the client is behind a firewall and unable to accept incoming TCP connections, passive mode may be used. In this mode, the client uses the control connection to send a PASV command to the server and then receives a server IP address and server port number from the server, which the client then uses to open a data connection from an arbitrary client port to the server IP address and server port number received. Both modes were updated in September 1998 to support IPv6. Further changes were introduced to the passive mode at that time, updating it to extended passive mode.
Image mode (commonly called Binary mode): the sending machine sends each file byte for byte, and the recipient stores the bytestream as it receives it. (Image mode support has been recommended for all implementations of FTP).
EBCDIC mode: use for plain text between hosts using the EBCDIC character set. This mode is otherwise like ASCII mode.
Compressed mode: Data is compressed using a single algorithm (usually run-length encoding).
FTP login utilizes a normal usernames and password scheme for granting access. The username is sent to the server using the USER command, and the password is sent using the PASS command. If the information provided by the client is accepted by the server, the server will send a greeting to the client and the session will commence. If the server supports it, users may log in without providing login credentials, but the server may authorize only limited access for such sessions.
The SSH File Transfer Protocol (also Secret File Transfer Protocol, Secure FTP, or SFTP) is a network protocol that provides file access, file transfer, and file management functionalities over any reliable data stream. It was designed by the Internet Engineering Task Force (IETF) as an extension of the Secure Shell protocol (SSH) version 2.0 to provide secure file transfer capability, but is also intended to be usable with other protocols. The IETF of the Internet Draft states that even though this protocol is described in the context of the SSH-2 protocol, it could be used in a number of different applications, such as secure file transfer over Transport Layer Security (TLS) and transfer of management information in VPN applications.
This protocol assumes that it is run over a secure channel, such as SSH, that the server has already authenticated the client, and that the identity of the client user is available to the protocol.
The term SFTP can also refer to Secure file transfer program, a command-line program that implements the client part of this protocol, such as that supplied with OpenSSH.
Some implementations of the scp program actually use the SFTP protocol to perform file transfers; however, some such implementations are still able to fallback to the SCP protocol if the server does not provide SFTP service.
There are numerous SFTP server implementations both for UNIX, Windows and z/OS. The most widely known is perhaps OpenSSH, but there are also proprietary implementations. Typically the port used is 22. SFTP file transfer protocol is part of SSH protocol suite.
It is difficult to control SFTP transfers on security devices at the network perimeter. There are standard tools for logging FTP transactions, like TIS fwtk or SUSE FTP proxy, but SFTP is encrypted, rendering traditional proxies ineffective for controlling SFTP traffic.
There are some tools that implement man-in-the-middle for SSH which also feature SFTP control. Examples of these tools include Shell Control Box from Balabit and FileGate SFP from Presaris. These provide functions such as SFTP transaction logging and logging of the actual data transmitted on the wire.


Truly a star-studded affair, Mother Lily Monteverde's 80th birthday was headlined by showbiz icons Star For All Seasons Vilma Santos, Megastar Sharon Cuneta, and the Diamond Star Maricel Soriano.
Though she is rarely seen in showbiz circles given her duty as Batangas representative, Vilma made time for Mother Lily's party.
Asked about Mother Lily wanting her to play the Regal Entertainment matriarch in a movie, Vilma quipped it's going to be a very challenging role.
"Kung isasapelikula yung buhay ni Mother baka hindi ko tanggapin, e. Hindi ko kayang gawin si Mother, kasi nag-iisa lang si Mother. Hindi ganun kadali."
Talking about Mother Lily's unpredictable temperament, Vilma cheerfully added, "Hindi ko kaya yung kay Mother na tumatawa ngayon 'tapos in one minuite galit.
"'Tapos nasa sulok umiiyak na. 'Tapos flying cellphone! 'Tapos mamaya, masaya na naman siya. Iba siya, e! Iba siya! Kaya nandito kaming nagmamahal sa 'yo."
In a brief chat with PEP.ph, Sharon Cuneta attested to how Mother Lily stood by her during the low points of her showbiz career.
Recalling how Mother Lily had always believed in her, Sharon said, "Because really, without us asking for anything, you're always there for us.
"I'll never forget, when I was at my fattest and no one was minding me, you're the only one who offered me a movie.
"And although I did justice to that role—I'd like to believe—I wish I was thinner, because I should have given you my best even physically.
"But even then, Mother, my love for you would always be here. I would always be proud of the fact that I, for a while, became a Regal baby. I love you, Mother."
Maricel Soriano was seen chatting with Regal Entertainment's lady boss Roselle Monteverde before entering the grand ballroom of Crowne Plaza.
It was just last April when she co-starred in Regal Films' movie My Two Mommies together with Paolo Ballesteros and Solenn Heussaff.
An original Regal baby, Gabby Concepcion told PEP.ph that Mother Lily launched him in the 1980 coming-of-age film Katorse, which starred Alfie Anido and Dina Bonnevie.
On a side note, Gabby arrived at the party only a few minutes after Sharon left with husband Senator Kiko Pangilinan.
In a rare appearance, former President Benigno "Noynoy" Aquino III arrived at the party with sister Ballsy Aquino-Cruz.
They were joined by Kris Aquino's sons Josh and Bimby, who were happy to see their uncle Noynoy at the event.
Right before the program started, their group caught up with no less than the birthday girl herself.
When Mother Lily asked why Kris couldn't make it, Bimby explained that his mom was feeling under the weather.
Sharon gave Manila Mayor Joseph "Erap" Estrada a hug and a kiss as they briefly caught up with each other at the party.
Kiko, for his part, happily escorted Sharon while she was acknowledging close friends she have not seen in years.
Ai-Ai delas Alas personally greeted the birthday girl, who produced the Comedy Queen's box-office movie Our Mighty Yaya in May 2017.
Mother Lily then threw a thanksgiving party where she happily told Ai-Ai, "You made me rich again!"
Former first lady Imelda Marcos gave Mother Lily a kiss on the forehead.
While mingling with the guests at Mother Lily's party, the Megastar and Senator Kiko bumped into Ilocos Norte Governor Imee Marcos.
Former Senator Lito Lapid and his son Mark exchanged pleasantries with Susan Roces, Senator Grace Poe, and Senator Grace's husband Neil Llamanzares.
Janice de Belen was accompanied by her manager Popoy Caritativo.
Asintado star Lorna Tolentino was among the early birds.
Gary Valenciano serenaded Mother Lily with his hit song "Sana Maulit Muli" at the latter part of the program.
In between his song numbers, Gary assured the guests that he is feeling better after going through several health issues from April to early July this year.
Actor-director Ricky Davao, who is currently busy with GMA-7 prime time series Inday Will Always Love You, made it to event.
Anthony Pangilinan and Maricel Laxa came with their son Donnie.
Eric Quizon was among the guests who stayed until the program was nearly finished.
Sharon was overjoyed when she saw her favorite director, Chito Roño, as she was about to leave the party.
Jenine Desiderio performed a song number.
A natural performer, Mother Lily wowed guests with her opening dance number.
The program ended with Mother Lily having a photo op with her family.


text:
Home Actor Mireille Enos Net Worth
Mireille Enos Net Worth
What is Mireille Enos' Net Worth?
Mireille Enos is an American actress who has a net worth of $12 million. That is a combined net worth with her husband since 2008, actor Alan Ruck. Enos is probably best known for starring as Sarah Linden on the AMC crime drama "The Killing" (2011–2014), and she has also played JoDean Marquart / Kathy Marquart on HBO's "Big Love" (2007–2010), Alice Vaughan on ABC's "The Catch" (2016–2017), Marissa Wiegler on Amazon Prime Video's "Hanna" (2019–2021), and War on the Amazon Prime Video/BBC Two fantasy series "Good Omens" (2019). Mireille has more than 40 acting credits to her name, including the films "Gangster Squad" (2013), "World War Z" (2013), "If I Stay" (2014), and "Never Here" (2017) and the TV movies "Without Consent" (1994), "Face of Evil" (1996), and "My Dinner with Hervé" (2018).
Mireille made her television debut in the 1994 TV movie "Without Consent," followed by another TV movie, "Face of Evil," in 1996. She guest-starred on "Sex and the City" in 1999, and in 2001, she appeared in her first film, "Someone Like You," and guest-starred in two episodes of "The Education of Max Bickford." She then appeared on the television series "Strong Medicine" (2003), "Rescue Me" (2004), "Without a Trace" (2006), "Standoff" (2006), "Shark" (2006), and "Crossing Jordan" (2007) and the short films "Chasing Leonard" (2005) and "Falling Objects" (2006). From 2007 to 2010, Enos played twin sisters Kathy and JoDean Marquart on "Big Love," appearing in more than 20 episodes of the series. During her time on "Big Love," Mireille guest-starred on "Numbers" (2008), "CSI: Miami" (2008), "Medium" (2008), "Lie to Me" (2009), and "Law & Order: Criminal Intent" (2009). In 2010, she began starring in the lead role of detective Sarah Linden on "The Killing,'" which aired 44 episodes over four seasons; the first three seasons aired on AMC, and the show moved to Netflix for its final season. "The Killing" earned Enos nominations from the Primetime Emmys and Golden Globes.
Mireille married her "Absurd Person Singular" co-star Alan Ruck on January 4, 2008, and they welcomed daughter Vesper Vivianne on September 23, 2010, and son Larkin Zouey on July 23, 2014. Enos is also stepmother to Emma and Sam, Ruck's children from his marriage to Claudia Stefany. Though Mireille grew up in The Church of Jesus Christ of Latter-day Saints, she is no longer a practicing Mormon. However, she told "Esquire" in 2012, "I loved it. I learned so much about the heart of people."
Mireille Enos Quick Facts
What is the net worth of Mireille Enos? What is her zodiac sign? Here is Mireille Enos in a nutshell:
Mireille Enos Overview
September 22, 1975 (age 47 years)
Quotes that Inspire by Mireille Enos
Many are probably wondering about the foundation behind Mireille Enos' success and wealth. Below we have listed some of the actor's quotes that will get you in the mindset to pursue your financial success.
I grew up in Houston, in a pretty urbane setting.
Mireille Enos
I like laughter around me.
Every role that you play comes with its own set of challenges.
I'm positive and I smile a lot, and I'm kind of a banana, but serious work just seems to find me, so I'm not going to argue with it.
I know as an actor there is a certain liberation auditioning for a role that has no beauty requirements.


Imagine your own private oasis CLOSE TO COLLIER BLVD, peacefully positioned away from the road on a sprawling cleared 2.27 ACRES, upgraded to show like new. Nestled within the tranquil Golden Gate East community down a long paved drive, double fence & electric security gate. From the 2-car garage to the picturesquely covered front porch, this home doesn't need a second chance to make a charming impression. This remodeled home is rendered in porcelain tile, with a NEW ROOF, NEW A/C, new exterior doors, FRESH PAINT, upgraded bathrooms with vaulted ceilings tile & ALL IMPACT WINDOWS. Whether you are cooking for two or ten, the large kitchen is a masterpiece of culinary convenience highlighting gorgeous granite counters accompanied by all stainless steel appliances. This light-filled home accommodates that coveted indoor/outdoor Florida lifestyle with spacious screened & tiled lanai with overlook upon the serenity of the backyard landscape. Just beyond is a paver pad with fire pit for entertaining beneath a star-capped sky. This scenic, secluded home keeps a great location, nearby to all conveniences & the Estates library is just 1 street over.


A creamy butternut squash soup with toasted seeds. Filling, comforting, simple, and healthy. The perfect vegan fall dinner.
Nothing says fall like a big bowl of creamy soup to me. It's cozy, comforting, and delicious.
I had the biggest crush on this butternut squash soup two years ago. But for whatever reason, I forgot about it and moved on to something else. Such a shame 'cause it really is too good for that.
It comes together in less than 30 minutes from only 9 basic ingredients.
Plus, it's super simple. First, you cut the butternut squash in half or quarters and scoop out the seeds. The seeds are then toasted in a dry pan along with the sunflower seeds until fragrant and golden.
In the meantime, you roughly chop the butternut squash, onions, and garlic and add them to a pot with water and vegetable stock powder (or liquid veggie stock!).
Add the toasted seeds to the pot and let cook for 10-15 minutes.
Finally, you blend everything into the most creamy and beautiful soup.
It's creamy. Butternut squash and seeds make a great combo when it comes to the creaminess.
It's filling. Thanks to the seeds, this soup is heartier than your typical veggie soup.
It's full of omega-3 and -6, fibre, protein, vitamin A, and magnesium.
As most soups, this recipe can easily be done ahead of time and reheated when needed. I actually find that the flavour is even better on the second day.
And because soup without bread is just not right to me, I highly recommend serving it with some whole grain bread.
For more comforting and filling meals, check out my Ginger Turmeric Carrot Risotto, Sweet Potato Cauliflower Stew, and 30-Minute Mushroom Bean Stew.
If you try this recipe, let me know! Leave a comment, rate it, or share it on social media.
Peel and cut the butternut squash in half.
Remove all of the seeds from the flesh. Toast the seeds over medium-high heat for 6-8 minutes or until very fragrant and golden brown. Add the sunflower seeds for the last 2 minutes.
Measure out about 2 tbsp of the toasted seeds and set aside.
Roughly chop the butternut squash, onions, and garlic. Add everything to a large pot with the water, vegetable stock powder and toasted seeds. Bring to a boil, then lower to simmer for 10-15 minutes or until the butternut squash is soft.
Use a blender to blend it until completely smooth. This can be done with a handheld blender, countertop blender, and food processor. I found that the countertop blender gave the smoothest result.
Add cayenne pepper and lemon juice and blend again. Season with salt and pepper.
If necessary, transfer it back to the pot and gently reheat it over low-medium heat.
Serve with the remaining toasted seeds, finely chopped rosemary, and whole grain bread (optional).
Wonderfull soup – very tasty and rich.