There was a brief flurry of stories in the media at the beginning of what has become a historic summer of hot weather across the U.S. that global warming was to blame. They faded swiftly because the public has concluded that global warming is the mother of all hoaxes, because we are in the midst of a failing economy and the political campaigns that will decide if the nation literally lives or dies.
This has not stopped the Public Broadcast System's News Hour from airing a new series "on how climate change in the Pacific Northwest is affecting the region's Native American Indian tribes—flooding their reservations and threatening the region's salmon fisheries." Climate change is shorthand for global warming.
While the nation's media continues to propagate the hoax, what hope is there for the TRUTH?
Significantly "the NewsHour's year-long Coping with Climate Change series is funded by a grant from the Rockefeller Foundation." The nation's leading foundations have been funding the global warming hoax for decades and continue to do so.
So one more article about the deception and duplicity of global warming may seem superfluous and it would be if the U.S. Air Force wasn't spending $59 per gallon of "green biofuel" and the U.S. Navy wasn't doing the same for its Great Green Fleet. The justification for this is the utterly false assertion that "alternatives" are needed in the event we can't produce or import petroleum.
The U.S. is floating on an ocean of oil, but for now it can only be extracted from lands owned privately because the Obama administration has done everything in its power to restrict access to it on federally owned lands and, of course, the billions of barrels locked up off-shore.
In exactly the same way that the Obama administration has presided over the loss of billions in subsidies and loan guarantees for the solar panel companies or the ridiculous costs of wind power industry compared to a single coal-burning plant, at the heart of it all has been the claim the global warming is caused by "greenhouse gas" emissions, carbon dioxide, that imperil the Earth.
Recently, my friend Joseph L. Bast, the president of The Heartland Institute, wrote an article, "IPCC Admits Its Past Reports Were Junk", posted on AmericanThinker.com.
It struck me that very few people even know that IPCC is the acronym for the United Nations Intergovernmental Panel on Climate Change. Few people know that the entire global warming hoax was generated by the IPCC, let alone know what it is.
Most people associate global warming with Al Gore who has been among its most prominent advocates, warning that "the Earth has a fever" and that we were doomed if we didn't stop generating carbon dioxide. Gore and his collaborators wanted to sell "carbon credits" in exchanges around the world and for a while he greatly enriched himself.
In Australia, the government has imposed a tax on carbon dioxide which it likely to destroy its manufacturing base along with the extraction of coal and other minerals.
Here in the U.S. the Environmental Protection Agency continues to assert that carbon dioxide must be regulated as a "pollutant" under the Clean Air Act and, if successful, will likewise destroy what is left of our manufacturing base and all other industries that generate or use energy to function.
And the man in the street remains completely clueless about the impending ruin of the nation based on the reports of the IPCC which the Inter-Academy Council (IAC), a group created by the world's science academies to provide advice to international bodies, has long since concluded were utterly false and baseless.
On June 27, the IPCC issued a statement saying it had completed the process of implementation of the recommendations that an August 2010 IAC analysis had made after examining who was contributing to their reports, who was reviewing their content (the same people!), and the astonishing, utterly false, claim of "a consensus" that global warming was happening.
It is a terrible thing to live in a nation governed by falsehoods, spending the public wealth on useless technologies, living under the tyranny of government departments and agencies pursuing those lies for their own agendas and political masters.
Unless the harm perpetrated in the name of global warming is reversed, we shall all remain the victims of the United Nations IPCC, the EPA, and all other entities seeking to control every aspect of our lives.
The poles are not melting, the glaciers are growing, the oceans rise mere millimeters over centuries, and right now planet Earth is cooling.
Alan, the Australian carbon dioxide tax, or as our lying government calls it 'price on carbon', came into effect on 1 July 2012. Already our electricity prices have risen 20%; refrigerant gas has gone up by 300%; landfill and tip fees have increased by 30%; food is up. The tax has been imposed on EVERY item we buy in some form or other. On top of that, we get taxed on the rise because our GST has also risen. Our lying politicians couldn't even admit that the GST burden would rise when prices rise. I wouldn't be surprised if you get a similar tax if Obama wins in November. After all, Julia Gillard and Obama seem to copy each other at every turn. Socialists tend to flock together. We are slowly destroying our economy. A super-profit mining tax has also come into effect and this will also slow our mining down. China, who we rely on heavily to keep us going, is slowing down. Australia is in a world of hurt and all so unnecessary. See what socialist, radical, green, lefty governments bring us?
I am an independent (and therefore unwanted) physicist (64 years old, and educated before the great educational train wreck of the last 40 years, which has miseducated the last two generations of physical scientists), and I disproved the "greenhouse effect" supposed to underpin the global warming hysteria, with the definitive evidence I know is needed to correct climate science. It is not just the man/woman on the street who pays no attention, what is frightening to me is that there are no climate or atmospheric scientists competent enough, or honest enough, to listen to that definitive (and quite simple, for a scientist) evidence.
I have been saying for some time that all of our institutions (AAAS, NAS, APS, AGU, etc.) have been suborned by the incompetent climate consensus (and of course, the cheerleading media). What makes this climate hoax greater than even the insiders among the "consensus skeptics" (a.k.a. "deniers") know, is that the greater the authority of the institution, the more its subornation is tied to a religious belief in evolution theory. That is to say, they think that opposition to the global warming idea is tied to a "creationist" denial of evolution (when they don't put such "denial" down to the evil of "Big Oil corporations").
And it is, in a larger context that both they AND the skeptics don't yet even imagine can possibly be true: The bad theory behind global warming is just the tail of the dog of the general evolution paradigm, that science has hewed to since Darwin: That everything we observe in the natural world is the product of undirected physical processes, without any deliberate design as even most scientists believed before Darwin. In such a paradigm, the Earth is all too easily seen as unstable (rather than the harmonious, repeating dynamic stability man has observed throughout history), and therefore can be subject to runaway climate ("ice ages", as well as "global warming"). That paradigm is now failing, increasingly openly, as the incompetence of scientists grows, as they struggle to tack on layer after layer of theoretical "natural" processes--like the non-existent "greenhouse effect"--to their "explanations". I am the only scientist in the world, so far as I know, who really, professionally knows this, because of my discovery and verification of the "great design of the gods", the highly fragmented and misunderstood knowledge of which--passed down by the "gods" to their offspring, historical man--was responsible for all the "ancient mysteries" of mankind's most ancient religiously-held beliefs.
Pretty soon the only people with money will be the government. That's the way socialists want it. I hope Aussies rebel in a massive fashion.
We must all keep attacking the Warmists and the scientists who have sold their souls for a loaf of government bread.
Is this entire hoax, supposed to be the mother of all hoaxes? Are you seriously trying to argue that global warming doesn't exist? Please answer back.
Yes, Green Apple, that is what I am saying. There is no global warming. The Earth began to cool in1998 and has contined since then thanks to a reduction in solar radiation.
It's not hard to secure this data. The perpetrators of the hoax, as their "Clamategate" emails revealed, were aware of this and worried that the word would get out to the public.
@Green Apple Energy - surely this isn't the first time you've heard it's a hoax? Where have you been the last few years??? No one is as blind as those who don't want to see. Open your eyes once in a while and smell the truth - not the one you've been fed by your collectivist green buddies.
Sharone, even if the planet WAS warming up, there is no reason to believe that humans have anything to do with it. How would you explain the fact that there have been numerous times throughout the earth's history when the land I currently live on has been alternately covered, then uncovered, with hundreds of feet of ice? Humans weren't even around back then.
An excellent article by Alan - as always! One might - regarding this article's theme - mention what James Delingpole, a fine gentleman from Britain, states in his "Watermelons": "Never has so much paranoia been generated, so much money been squandered, so much nonsense been spouted, so many lives been constrained, so much economic damage been inflicted, so many bright futures been stunted on the basis of so little evidence.
Such is the crying scandal of Climate Change."
There has been no warming since 1997, according to the main perpetrators of this hoax.
One of the ways that Reality Bites back is with economics. The surge of activity rippling out from the fracking discoveries is revitalizing many parts of the economy once left for dead. Believe it or not, steel mills are re-opening and modernizing in Ohio -- just one of a plethora of examples.
The Great Obama Oppression Depression is breaking down despite his best efforts.
1.7 Million Warning Signs Page Views!


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text:
International Centre of the Roerichs
Letters, Petitions
Help the museum
>Media>The Uncertain Future of the Enlightenment Stupa in Moscow // Buddhistdoor Global
The Uncertain Future of the Enlightenment Stupa in Moscow // Buddhistdoor Global
By Lyudmila Klasanova Buddhistdoor Global, 2018-10-24
The Enlightenment Stupa in Moscow, also known as the Three Jewels Stupa, was consecrated on 18 June 2008 on the grounds of Lopoukhin Mansion, where the International Center of the Roerichs and its non-governmental museum named after the Russian artist, scholar, thinker, and public figure Nicholas Roerich (1874–1947) were located until 28 April 2017. The stupa was built on the initiative of and with the blessing from His Holiness Dujom Sangye Pema Shepa Rinpoche, head of the Dujom Tersar lineage of the Nyingma school of Tibetan Buddhism. The stupa was an invaluable gift from the Buddhist lamas to the Nicholas Roerich Museum of the International Centre of the Roerichs as a testimony to Roerich's exceptional contribution to the understanding the ancient culture and philosophy of Central Asia.
The Enlightenment Stupa was the first and, until 2017, the only Buddhist stupa in the Russian capital, constructed in accordance with all canonical rules. It holds the relics of 200 eminent Buddhist teachers brought to Russia from different parts of the world, as well as relics of Shakyamuni Buddha and Kashyapa Buddha and, giving a particular cultural and historical significance to the stupa and its location.
Since its creation, Buddhists from all over the world have visited the grounds of the Nicholas Roerich Museum to worship at or simply to visit the stupa. Among them, are a number of eminent Buddhist teachers, such as Venerable Geshe Lhakdor, director of the Library of Tibetan Works and Archives, Kathog Getse Rinpoche, and Namgyal Ati Sherab Nyima Rinpoche, in addition to official delegations from Drepung Gomang Monastery and Jonang Monastery, as well as repected Buddhist scholars such as Glenn Mullin and Robert Thurman.
Lopoukhin Mansion with the stupa.
Attempts to destroy the Enlightenment Stupa began in 2015, when management of Lopoukhin Mansion was transferred to the State Museum of Oriental Art by the Russian Ministry of Culture. The management of the state museum joined hands with the Ministry of Culture to call for thestupa's demolition.
The first attempt to remove the Enlightenment Stupa was undertaken in 2016. The management of the State Museum of Oriental Art and the Russian Ministry of Culture tried to present it as an illegal construction and raised the issue of its demolition. That same year, Telo Tulku Rinpoche, the shadjin lama (head lama) of the Kalmyk people and Lopsan Chamzy, khamby lama (head lama) of the Republic of Tuva, spoke in defense of the stupa and opposed its destruction. They sent a letter to Russian president Vladimir Putin to ask his help in the preservation of this unique cultural site with important historic and religious significance. In a response, Putin gave personal instructions to the mayor of Moscow and the minister of culture to preserve the monument.
Blessing the stupa.
However, attempts to destroy the stupa continued. Before being deprived of access to Lopoukhin Mansion and the stupa, the International Center of the Roerichs and representatives of the Buddhist community in Moscow maintained the stupa in excellent condition. But in the spring of 2017, the State Museum of Oriental Art blocked all the access after the Ministry of Culture of the Russian Federation and the State Museum of Oriental Art took over Lopoukhin Mansion in April 2017 and the destroyed the Nicholas Roerich Museum. These actions are now being challenged in court by the International Centre of the Roerichs. As a result, thousands of Buddhists who had visited Lopoukhin Mansion for years were deprived of this opportunity to worship at the Buddhist sanctuary. Representatives of the Buddhist community in Moscow have also been refused access. Their requests for urgent reconstruction have been denied by the State Museum of Oriental Art, and the stupa has now fallen into distressing disrepair.
In April 2018, the International Center of the Roerichs – as the institution to which the stupa was donated and was entrusted – sought permission from the State Museum of Oriental Art for Buddhists to be allowed to repair and maintain the monument. For that purpose, the International Center of the Roerichs legally transferred temporary use of the stupa to the Buddhist community of Moscow, but the situation remained unchanged.
The current condition of the stupa.
On 19 September 2018, the State Museum of Oriental Art asked the International Center of the Roerichs to remove the Enlightenment Stupa from the grounds of the mansion. After protests by Buddhist groups, the director of the State Museum promised to allow the Buddhist community to organize the necessary repairs for the stupa before the winter, but reconstruction was again postponed under the pretext that the repairs needed to be coordinated with the Ministry of Culture, despite the precarious condition of the Buddhist sanctuary.
Telo Tulku Rinpoche made the following statement after being informed of the situation: "I am deeply aware that the place of the stupa should not be changed. It should stay where it was built. The stupa is not a piece of furniture that we can move from one building to another. Before its construction, extensive rituals of blessing were performed according to the Buddhist canon to determine where the stupa should be built. Over the years, numerous Buddhist followers and people who simply have an interest in the cultural heritage of the East visited this place, offered their prayers and wishes at the stupa, which made this place special and holy. I sincerely hope that the parties involved will show respect to the feelings of the believers and will find a way to keep the stupa where it was erected." (Золотая обитель Будды Шакьямуни)
The situation, as of yet, remains unresolved.
Преднамеренные действия Музея Востока ведут к разрушению буддийской ступы в Москве
В Москве погибает буддийская ступа
Верховный лама Калмыкии высказался по поводу требования Музея Востока убрать буддийскую святыню с территории усадьбы Лопухиных.
Related features from Buddhistdoor Global
Russia's Golden Triangle of Buddhism
Buddhist Holy Sites of the Russian Steppes
The Kalmyk Restoration: Telo Tulku Rinpoche on a Russian Republic's Buddhist Revival
Related news from Buddhistdoor Global
Kundeling Tatsak Rinpoche Consecrates New Enlightenment Stupa in Moscow
Monks from Drepung Gomang Monastic University Visit Moscow
"Refuge for the New Millennium:" Telo Tulku Rinpoche Gives Teaching in Moscow
Gangteng Tulku Rinpoche Gives Teachings in Moscow
Tagged east-museum
Chronicle Essential Featured
Photochronology of the Non-Governmental Nicholas Roerich Museum's damage
A press conference of the International Center of the Roerichs for Russian and foreign journalists was held in the press
Featured Official Video
Press-Conference at Nicholas Roerich Museum of ICR
On March 9, 2017, in the Museum named after Nicholas Roerich of the ICR held a press conference. The participants
Media The Public
A Buddhist stupa is dying in Moscow. How officials ignore the decisions of President Vladimir Putin
The Moscow Buddhists are in despair. For a year now they have not been able to access the Buddhist stupa of the "Three Jewels", which is
The Roerichs are evicted. The Ministry of Culture gets rid of the Memorial with the ashes of the Roerichs
The International Center of the Roerichs called upon the President of the United States not to violate the Roerich Pact by destroying cultural heritage
THE UNIQUE ROERICH MONUMENT IN RUSSIA IS BEING DESTROYED
Yuri Samodurov: The Pushkin State Museum of Fine Arts acts unjustly towards the Roerichs' heritage // Noviye Izvestiya
On the Verge of Bankruptcy
EXPERIMENT WITH HERITAGE
The Ministry of Culture nationalized the property of the non-governmental Museum named after Nicholas Roerich // Novye Izvestia
Lyubov Khomenok. Roerichs' Heritage is Plundered! // Blog "Cont"
rybak putin daruze swat unesko roerich-museum march 7th karpov aristarhov medvedev shaposhnikova press-conference stetsenko cherkashina icro mkrtychev medinskiy shablinskiy avdeev east-museum min-cult heritage bokova samodurov svetoslav-roerich bulochnik lavrov russia today public icr
Take part in the action #SaveRoerichMuseum
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redpajama_set_name: RedPajamaCommonCrawl


The HG10 uses Canon's fast-access menu for most other functions. You can choose between Program AE, shutter priority, aperture priority, Cinema mode and eight scene modes, including Portrait, Sports, Night, Snow, Beach, Sunset, Spotlight and Fireworks. You can vary the shutter from 1/6 to 1/2000, and aperture from F1.8 to F8, but not independently as only priority modes are available. You also can't use either with the Cinema mode, as this is an option on the same menu.
The function menu also houses no less than six white balancing presets, as well as automatic and manual options. There are five image effects, which are basically sharpening/softening presets, plus a selection of digital effects. You can even switch between the four recording qualities from here. If you do delve into the full menu, there's also a progressive shooting mode to be found, so you can record 25 frames per second instead of 50 interlaced fields.
Since it has the same CMOS sensor and optics as the excellent HV20, we were expecting great things from the HG10. On many levels, it lives up to our expectations, too. The brilliant colour fidelity of the HV20 is carried forward, with a vibrant but not over-saturated image. However, AVCHD does have a tendency to show more artefacts than HDV, and this was evidenced by a slightly less sharp picture, even in very strong outdoor lighting, which was even more obvious with moving objects.
In low light, the HG10 fared surprisingly well, and actually exhibited marginally less noise than the HV20, but the image was still not as sharp overall. Switching to progressive mode had a similarly beneficial effect on colour in low light with the HG10 as it did when we tested the HV20. Unfortunately, where we loved the progressive shooting mode of the HV20, which improves image quality without any obvious loss in smoothness during motion, the same cannot be said of the HG10. Turning this mode on with the HG10 resulted in jerky pans and very laggy response from the LCD. As a result, we wouldn't recommend using it, so you won't be able to take advantage of its benefits for low-light shooting.


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This is more of a truck stop than anything else. If you want a fairly quiet place to relax and are sensitive to noise, this is not the place for you. Trucks coming in at all hours of the night, running motors/generators and generally making a lot of noise. One of the nicest casino's we have ever seen and a very good buffet.
We stopped at the Ameristar in Kansas City on our way back across country. The current reports are all accurate and I'm sending a photo of the parking lot.
This casino was a pleasant surprise. Very roomy and well ventilated, not what we're used to finding with riverboat casinos. The websites call it a stationary riverboat but in reality it's completely land based. The décor is a little bit Vegas with lots of stained glass, arched sky ceilings and a bricked street shopping and dining area. All of the restaurants are located together so you don't have to traipse through the casino searching for food. We enjoyed it enough that we would have stayed another day if we'd had the time. The fact that we left $400.00 dollars richer may have figured into that though.
This casino parking lot has easy access to the expressway and plenty of parking for even the largest of rigs. No specific RV parking, just a lot for big rigs. It seems to be popular with the truckers as there were about 25 in the parking lot. This did not limit the RV parking at all for our 40 ft motorhome as the lot is plenty large. As mentioned there is no shuttle, but in good weather there is no need. The front door of the casino is only a short (5 minute) walk from the RV parking. Security gave us the thumbs up for staying the night and they drove through the lot several times that we saw. The casino has several restaurants that cover all of the culinary bases and prices.
The buffet is good quality but a bit expensive at $23.
Although we live in the area, we have overnight parked at Ameristar on several occasions. We don't like to drive freeways at night so when we have some special program to attend -- drawing, shows, fireworks, etc. -- we take our motorhome and spend the night.
Ameristar has acres of parking lots plus a 4-story parking garage so plenty of parking space. They ask campers and trucks to park in one lot near the front entrance. You can't miss it, there are always semi trucks parked there and usually some campers. It is a pretty good hike to the casino and no shuttle service is provided. The lot is large enough campers can usually get away from the noise of the trucks.
Our motorhome is small so we normally park in a regular car parking lot closer to the casino then move to the big lot for overnight parking. Sometimes we have a note on our windshield when we come out of the casino telling us where we should park but nothing more serious (or threatening).


text:
Christopher Munch | Filmmaker
Official portal to his major works and press coverage. Also the official website of Antarctic Pictures LLC.
The 11th Green
Letters from the Big Man
Against the backdrop of a controversial fire salvage in the Oregon wilderness, an artist-forester unwittingly finds herself interacting with a mythic creature who changes her life profoundly.
Home Video: Amazon
VOD: Amazon Instant Video, Vimeo-On-Demand (all regions)
Website of the Film
USA 2011, 104 minutes, MBG Art and Film, Antarctic Pictures
Origination format: Red 4K
Exhibition format: DCP
Major festival showings: Sundance Film Festival, Park City, Utah (2011); San Francisco, Seattle, Los Angeles, Vancouver, and Sydney International Film Festivals (2011); BAM Cinemafest, Brooklyn, NY (2011); Biografilm-Bologna (2012).
Principal cast: LILY RABE, JASON BUTLER HARNER, ISAAC C. SINGLETON, JR., JIM CODY WILLIAMS, FIONA DOURIF, DON McMANUS, and KAREN BLACK.
"Lovely, delightfully idiosyncratic." Manohla Dargis, New York Times (Critics' Pick)
"A remarkable film. . . . [t]he gradually spiralling construction is the heart of the film, and it's ingenious; the narrative result—an opening-out onto a moment of a potentially historic import—is up to the audacity of Munch's ambition." Richard Brody, The New Yorker
"'Letters From the Big Man' Presents an Evolved Sasquatch Rendered with Earnestness and Filmmaking Skill. The Bottom Line: Original and affecting take on the sasquatch legend. . . . This is clearly not a film made for everyone, but for a fortunate few, it will feel like a cleansing in nature. . . . The exquisite natural light captured by cinematographer Rob Sweeney and a sweeping score by the chamber group Ensemble Galilei helps make the magic seem plausible. But it's Rabe who you really can't take your eyes off of." James Greenberg, The Hollywood Reporter
"Among other must-sees: Chris Munch's Letters from the Big Man, a fairy tale for adults about a young woman who encounters a bigfoot in the deep forests of southwestern Oregon and forms a mutually protective relationship with him (I believed every minute of it)." Amy Taubin, Artforum
"Letters from the Big Man will mystify some, please others with its serenity, and be unlike any Bigfoot movie you have ever imagined." Roger Ebert, Chicago Sun-Times
"Graceful, uncynical and transporting, Letters is an original and a beauty." Ray Pride, New City-Chicago
"Letters from the Big Man sustains its deeply felt love of nature's mystery – and majesty." Melissa Anderson, Artforum
"[P]leasurably eccentric. . . . the kind of off-Hollywood production that still makes Sundance surprising." Manohla Dargis, New York Times (Sundance Roundup)
"Rest assured that Big Man is open-ended and gently playful throughout. . . . Its quiet plea for reconnection with the non-human world is persuasive, and the engaged, agile meditation on the limits of communication at its center aligns it with Munch's earlier work. Oregon's million-dollar scenery, a sweet cameo by Karen Black, and Rabe's tough/tender performance sweeten the pot. . . . Its inspired alignment of personal and ecological loss will disrupt someone's serenity at least a little." Mark Holcomb, Village Voice
"This oddball take on a naturalist (Lily Rabe) surveying the local woods and the sasquatch who silently surveys her shows Munch returning to form in a big way; its deadpan take on mythic creatures and the messy business of love harkens back to the days before outside-the-studio moviemaking became the province of pop-culture referencing hit men and twee twentysomethings. See it." David Fear, Time Out New York
"[E]motionally involving. . . . Big Man mashes a few genre moves (the title refers to a soulful sasquatch) against complex political concerns (forest conservation and logging) to cross-pollinate a field in which some new form of emo-indie intimacy can take root. . . . Christopher Munch's hybrid winds up feeling like an authentic discovery of indie territory left unexplored since John Sayles's 1984 Brother From Another Planet." Seth Colter Walls, Village Voice
"I can't imagine a moviemaker other than Munch bringing so much conviction to such a wigged-out premise. Letters isn't a spoof, a horror movie or a new-age metaphor. . . . It's closer to a fairy tale that retains its hold on the adult imagination, even though one might feel silly admitting it... Shot with the RED–a great camera with which to capture the deep green of the forest by day and by night–Letters reverences the natural world, finding in its beauty and order a way to fulfill one's life." Amy Taubin, Film Comment
"Shot in the sprawling forests of southern Oregon, Letters From The Big Man has the novelty value to achieve profile in today's marketplace and could easily tap into a grass-roots appetite for well-told environmentally conscious stories. . . . Munch explores both the scenery and the character's calm within it with sometimes mesmerising grace." Mike Goodridge, Screen International
"Director-writer Christopher Munch just wants to tell a light-handed, low-key story about several people who like the woods, while he photographs those woods lovingly enough to make us fall for them as well. There happens to be a sasquatch in the background, but he never channels King Kong." The Province-Vancouver
"[A] powerful meditation on the environment without the heavy handedness of a Greenpeace ad." Brooklyn Based
"Another under-appreciated Sundance selection, Christopher Munch's contemplative tale about a wildlife researcher (Lily Rabe) studying forest fire damage in Southern Oregon takes on a surreal twist when the character forms a mystical bond with a furry Sasquatch tracking her every move. More metaphor than man, the creature symbolizes the love affair that all creatures share with the nature surrounding them. With the creature's livelihood threatened by invasive government agents, Munch heightens the fragility of that relationship. An unwillingness to take the movie seriously, as impatient viewers might, only strengthens its keen ecological message." Eric Kohn, IndieWire
"Christopher Munch's latest feature explores the odd, mystical connection between a relationship-phobic wilderness expert (the excellent Lily Rabe) and an earnest sasquatch (featuring first-rate makeup effects). There is an environmental theme afloat in this beautifully shot film, but Munch isn't in the mood to big-foot us with a message." David Lewis, San Francisco Chronicle
"Lily Rabe manages to command our attention in scene after scene without dialogue. Munch just has her work, exercise, and paint while we (and the sasquatch) develop a silent bond with Sarah." Brian Miller, Seattle Weekly
"[A] willfully naive poetic reverie about lost souls trying to get close to nature in the Pacific Northwest and about the giant man-beasts who watch over them – and, by extension, us – like hairy angels. The star is Lily Rabe (daughter of the late Jill Clayburgh and playwright David Rabe); she plays an Amazonian US Forestry Dept. surveyor who finds her deepest peace camping out in the backcountry. Munch's film touches on many things, including the logging/ preservation debate (the director finds room for the people on both sides), idealism, young lust, CIA advanced-weaponry programs, and Native American animism." Ty Burr, Boston Globe
"[A] strange dance of love with a sasquatch, handled with just the right touch. . . . Well played by the entire cast, beautifully shot, and, although a mite goofy, delicate, haunting and sweet." Shawn Levy, The Oregonian
Munch's Movies
Against the backdrop of a controversial fire salvage in the Oregon wilderness, an artist-forester un wittingly finds herse...
A respected journalist uncovers the truth behind the folklore of President Eisenhower's long-alleged involvement in UFO events. ...
About the Filmmaker
Critic Graham Fuller summed up the work of writer-director CHRISTOPHER MUNCH by stating that his films "meditate quietly on the pere...
The Hours and Times
Chronicles a short holiday taken by a young John Lennon and his brilliant manager Brian Epstein in Barcelona in 1963. ...
The Sleepy Time Gal
Two women search for meaning in lost loves and missed chances. As one mother looks to her past to gain strength to face the future, a da...
Color of a Brisk and Leaping Day
Eighty years after Chinese laborers built the railroads that forged a new America, one of their descend a nts fights to save the short-...
Contact Munch
© 2016-2021 Antarctic Pictures LLC. Awesome Inc. theme. Powered by Blogger.


text:
Q: Any other GXT themes? The GXT themes which come by default are ok but they're all essentially versions of the same thing with different colors. Looking around I can't find any attractive commercial or free themes.
Is there a good place to find new themes or has a third party market failed to emerge so far?

A: Currently a set themes for GWT really very small. There are several ways to solve this problem: First, you can use additional libraries, such as SmartGWT or ExtGWT, which provide a list of components and their own set of skins. The second way is to override the styles of GWT-components in your CSS file.
In my projects, I use both of these approaches. Using the library, I expand the list of available components, and changing styles with the help of CSS-file, which override the GWT-component classes and Ids.

redpajama_set_name: RedPajamaStackExchange


text:
Scientists predict a Gulf of Mexico 'dead zone' the size of New Jersey this summer
Shrimp boats are parked in Venice, La., near the mouth of the Mississippi River and the Gulf of Mexico, in 2010. (Gerald Herbert/AP)
Chelsea Harvey
June 21, 2017 at 8:48 p.m. UTC
An oxygen-poor "dead zone" in the Gulf of Mexico, which can prompt harmful algae blooms and threaten marine life, could approach the size of New Jersey this summer, federal scientists say — making it the third-largest the Gulf has seen. A new forecast from the National Oceanic and Atmospheric Administration predicts that the annual dead zone will reach an area of nearly 8,200 square miles in July, more than 50 percent larger than its average size.
While the Gulf dead zone occurs each summer, brought about by human pollution running into the water, scientists and policymakers are fighting to reduce its size. It's a big priority because of the dead zone's potential to damage fisheries, according to NOAA scientists — and this year's unusually large forecast may mean even more of the Gulf is at risk than usual.
"We've known for a long time that the hypoxic zone reduces fish and shrimp habitat dramatically," said Alan Lewitus, a scientist with NOAA's Center for Sponsored Coastal Ocean Research. ("Hypoxic" means deprived of oxygen.) Even if the low-oxygen levels don't outright kill the fish in the water, exposure to these conditions can harm their ability to reproduce, change their migration and feeding patterns and stunt their growth. And these effects can have a negative impact on the economy as well.
A study published this year found that dead zones in the Gulf of Mexico can cause large shrimp to become scarce and smaller ones to become more abundant. As a result, the price of large shrimp climbs while the price of small ones drops, causing a disturbance in the market.
"This is a real concrete, quantitative effect, which hits economies," Lewitus told The Washington Post. "So it's something to really recognize."
Scientists have been monitoring the size of the Gulf dead zone every year for the past 32 years. It's caused mainly by nitrogen, phosphorus and other nutrient pollution — largely produced by human agricultural activities — running into rivers that eventually empty into the Gulf. In the summer, when the water is warm, the excess nutrients in the water can contribute to large bursts of algae growth, which can lead to low-oxygen conditions in certain parts of the Gulf.
Typically, the dead zone hovers off the coast of Louisiana and eastern Texas, and its average area spans about 5,300 square miles. Each year, NOAA scientists create a forecast for the coming summer's dead zone, based on nutrient runoff data collected by the U.S. Geological Survey. In July, when the dead zone generally reaches its peak, scientists confirm its actual size with boat surveys.
Since the early 1990s, Lewitus said, there's been an increase in the size of the annual dead zone, although in recent years it's begun to plateau. A coalition of state and federal partners is working to try to shrink it again. The Mississippi River/Gulf of Mexico Hypoxia Task Force was established in 1997 to work on understanding the causes of the Gulf dead zone, cutting down on nutrient pollution and reducing the dead zone's severity.
It's been slow going. The task force's most recent action plan, released in 2008, set a goal of reducing the summer dead zone to an area of less than 2,000 square miles by 2015. But in 2015, seeing that the plan was falling short, the task force moved its target to 2035.
It remains difficult to assess how much progress is being made. While there's been no significant reduction in the size of the dead zone, Lewitus noted that some USGS data trends suggest that the amount of nutrient pollution is starting to decline. If that's the case, and the trend continues, a reduction in the dead zone should follow shortly.
This year, though, heavy nutrient flows in May led to the higher-than-average forecast. The USGS data indicates that more than 360 million pounds of nitrogen and nearly 50 million pounds of phosphorus flowed into the Gulf last month.
And while the NOAA forecast predicts the third-largest dead zone on record this summer, other scientists believe it may be even larger. A separate forecast, produced by researchers Gene Turner of Louisiana State University and Nancy Rabalais of the Louisiana Universities Marine Consortium, predicts a dead zone covering more than 10,000 square miles — which would be the largest the Gulf has seen. The model used to make this prediction is one of several that NOAA uses in its own forecast, according to Lewitus, and the NOAA forecast is typically more on the conservative side.
We won't know for sure how large the dead zone grows this year until scientists complete their field survey later this summer. Between now and then, there are several factors that could affect scientific measurements when the time comes — mainly severe storms or high winds, which could churn up Gulf waters. But for now, the region appears to be on track to see one of its most severe dead zones on record, underscoring the need for continued efforts to reduce pollution and protect water quality in the Gulf states.
"The Gulf's summer hypoxic zone continues to put important habitats and valuable fisheries under intense stress," said Rob Magnien, director of NOAA's Center for Sponsored Coastal Ocean Research, in a recent statement. "Although there is some progress in reducing nutrients, the effects of the dead zone may further threaten the region's coastal economies if current levels remain."


text:
\section{Model prescriptions}
In our computations we adopt
an initial helium content $Y=0.23$. We consider
the complete sets of reactions
for the pp-chain and CNO tri-cycle, and the most
important alpha-capture reactions for heavy elements up to Mg.
Nuclear rates are taken from Caughlan \& Fowler (1988).
The nuclear network is implicitly solved for all the considered
H- and He-burning reactions, and without any additional assumption
for nuclear equilibria.
Overshooting from stellar cores is applied according to the
Bressan et al.\ (1981) formalism.
Mass-loss from massive stars ($M \ge 10 M_{\odot}$)
is described  according to Chiosi (1981).
Stellar evolution is  calculated throughout the nuclear H-burning
phase up to the He-flash at the RGB tip for low-mass models, and
throughout nuclear H- and He-burning phases up to
the beginning of the TP-AGB phase and carbon ignition
for intermediate- and high-mass models, respectively.
\section{Evolutionary features}
Figure~\ref{fig_hrd} presents the evolutionary tracks in the
H-R diagram.  The appearance of short-lived loops
is caused by the
ignition of the 3-$\alpha$ reaction during core
and/or shell H-burning, leading to the first
activation of the CNO-cycle.
In the case of
low-mass stars ($0.9 M_{\odot} \la M \la 1.2 M_{\odot}$)
a loop develops  near the end of central H-burning ($X_{\rm c} \sim 0.01$),
whereas for more massive stars ($2.5 M_{\odot} \la M \la 6 M_{\odot}$)
a similar feature
also occurs at the formation of the He-shell.

As far as the critical stellar masses for non-degenerate nuclear
ignition are concerned, we find that $M_{\rm Hef} \sim 1.1 M_{\odot}$
corresponds to the minimum initial mass for a star to avoid the He-flash,
and $M_{\rm up} \sim 6.0 - 7.0 M_{\odot}$ the minimum initial mass for
a star to avoid carbon deflagration.

	\begin{figure}
	\centering
\resizebox{0.66\textwidth}{!}{\includegraphics{marigof1.ps}}
\hfill
\parbox[b]{0.29\textwidth}{
	\caption{HR diagram for the complete set of $Z=0$ evolutionary
tracks, from 0.8 to 100 $M_{\odot}$.
Solid line: evolution at constant mass;
dotted line: evolution with mass-loss}
	\label{fig_hrd}}
	\end{figure}

\section{Surface chemical changes}

The first dredge-up is practically absent in all models. Only for stars with
$M <1.0 M_{\odot}$ a very small amount (less than 0.003 $M_{\odot}$)
of He is dredged-up
to the surface.
The second dredge-up is experienced by stars with
$1.5 M_{\odot} < M < 8 M_{\odot}$, being quite
efficient in models with
$M \ge 2.5  M_{\odot}$.
It turns out that
the surface composition is enriched
almost only in He (reaching $Y = 0.25$ -- $0.37$ at increasing stellar mass)
and negligibly in CNO elements ($10^{-16}$ -- $10^{-8}$
in mass fraction).

Massive stars, with $10 M_{\odot} < M < 100 M_{\odot}$, do not
show any trace of surface chemical pollution due to dredge-up episodes.
Only models calculated with mass-loss may expose nuclearly processed material
to the surface.
With the adopted prescription for mass-loss,
stellar winds are never able to strip off H-exhausted layers in models
with $M \le 20 M_{\odot}$. In these cases,
at most, the H-burning shell is eaten up, with consequent surface enrichment
in He and small amounts of CNO.
For more massive models with $M \ge 50 M_{\odot}$, wind stripping
is able to reach the CO-enriched region left by convective He-burning.
In these cases, the corresponding yields of C and O are considerable
($\sim 0.1$ -- $1 M_{\odot}$).

redpajama_set_name: RedPajamaArXiv


You will find information on current positions below. Potential graduate students must be admitted to UIC, e.g. the Kinesiology graduate program, before joining. We also accept students in the Rehabilitation Sciences graduate program, and the Bioengineering graduate program.
We are currently seeking PhD students to study fundamental aspects of human locomotion. Students with backgrounds in kinesiology, movement sciences/biomechanics, physical therapy, engineering, rehabilitation sciences, or neuroscience are encouraged to apply. For a list of possible projects prospective students are directed to our projects webpage. If you decide to apply please include an idea for a project you would like to pursue and the specific areas in which you have strength(s) or interest. Offers are generally made after all applications have been submitted and reviewed in January. Interested graduate students are encouraged to contact Dr. Sawers and apply using the online mechanisms above.
We are currently looking for Masters students to develop and test walking balance assessment tools and conduct human subjects research on balance failures and the optimization of physical guidance for balance training. Students with backgrounds in kinesiology, movement sciences/biomechanics, physical therapy, engineering, rehabilitation sciences, or neuroscience are encouraged to apply. We are currently only accepting students in the M.S. Kinesiology program.
We are always looking for enthusiastic, creative, independent, and dedicated undergraduate students to help with data collection and processing. There are also select opportunities for senior undergraduate students to design their own project. Undergraduate students who are particularly interested in research are encouraged to apply to the UIC Honors College. If you'd like to get hands-on experience in this exciting research area please email Prof. Sawers with your interests and technical strengths. Students are encouraged to review our Joining the Lab document before emailing Dr. Sawers.
You are expected to spend at least as much (or more) time on undergraduate research as you would on a 3-credit course. This is generally 10 hours per week during the Fall and Spring terms. Research often requires 1 to 2 semesters to become familiar with the lab and acquire basic skills and knowledge relevant to the field. Therefore, you should be prepared to commit to a minimum of 2 semesters of research (ideally back-to-back semesters, e.g., Fall-Spring).


YAML is a simple data serialization language often used for configuration (e.g. docker and ansible). Information on this page is taken (often word-for-word) from http://docs.ansible.com/ansible/YAMLSyntax.html.
All YAML files can optionally begin with --- and end with ... to indicate the start and end of a document. Tab characters are never allowed as indentation.
Comments begin with the number sign (#). They must be separated from other tokens by white space characters.
Strings are ordinarily unquoted, but may be enclosed in double-quotes, or single quotes.
There are two ways to write multi-line strings, one preserving newlines (using the | character) and one that folds the newlines (using the > character), both followed by a newline character.
Members of a list are lines beginning at the same indentation level starting with a ~"- ~ (a dash and a space).
A dictionary is represented in a simple key: value form (the colon must be followed by a space).
Anchors and references allow duplication of content across a document. An anchor is created with &, a reference with *.
Anchors can also be used to duplicate/inherit properties.


text:
Reinventing courses that are harder to teach remotely
Testing for COVID, ensuring safety
Assistant Professor Marianna Katherine Linz ordered lab kits for students so they could conduct experiments at home.
Faculty devise ways to increase interactivity, flexibility, student contact
By Juan Siliezar Harvard Staff Writer
Date August 7, 2020 August 11, 2020
This story is part of a series about the ways in which faculty are innovating and planning for fall classes online.
When Harvard announced teaching would remain online for the upcoming school year because of the coronavirus pandemic, Marianna Katherine Linz quickly decided that if students couldn't get to the lab, she'd bring the lab to them.
The assistant professor in the Department of Earth and Planetary Sciences ordered the supplies and equipment students would need for the climate and atmospheric physics laboratory she teaches in the fall and created kits she will send to them so they can conduct the experiments at home. That's just one of the changes she has in the works.
The effort by the second-year faculty member to reimagine her course is one of many taking place across campus as professors prepare for an unprecedented fall semester. Strategies are varied, but all are the result of thoughtful planning revolving around taking a fresh look at fundamental questions: What are the most important things we want students to take away from this course, and what's the best way to make sure that happens remotely?
Assistant Professor Linz broke her once-a-week, three-hour course into three separate days to avoid long Zoom sessions and make the material more digestible.
Besides creating the kits, Linz broke her once-a-week, three-hour course into three separate days to avoid long Zoom sessions and make the material more digestible. The segments are organized similarly to her in-person course: a hands-on or data lab portion where students run experiments or look at climate models to explore how the atmosphere and oceans behave on rotating planets, a student-run session to work on follow-up analysis, and a joint class session to debrief on the week's lessons. Students will work in four-person groups through Zoom breakout rooms, with Linz hopping from group to group, answering questions, pointing out anomalies that happen because of the way experiment is set up, and helping students adjust experiments or data.
"It's all to try to recreate some of the experience they have in the lab and in class," she said.
"We want students to be excited," said Bernhard Nickel, a professor in the Department of Philosophy and its director of undergraduate studies. "We want the courses to have the potential to really transform the way that students experience the world and engage with the world, not just inside the classroom, but outside the classroom, as well. That's still exactly the same, and we're trying to keep that keep going."
To that end, Nickel, who teaches an introductory philosophy course for first-year students, has spent the summer coming up with ways to help students internalize the "hidden curriculum" portion of his course — essentially teaching students how to think like philosophers as opposed to thinking about their arguments. Instead of simply delivering a Zoom version of his lecture, he and his colleagues in the department have decided to make lectures available as recordings that students, especially those in different time zones, can access anytime. Class time with all in attendance will be reserved for active learning to focus on content that is well-suited for discussion or engagement.
Theater, Dance & Media's artistic producer, James Stanley, is experimenting with live-streaming software like OBS to cut down on virtual lag so all performers are in sync.
Kris Snibbe/Harvard file photo
For his course on computer vision, Todd Zickler is engaging a hybrid format of lecture and lab work. Zickler, the William and Ami Kuan Danoff Professor of Electrical Engineering and Computer Science at the Harvard John A. Paulson School of Engineering and Applied Sciences, plans to curate and post lecture material so students can access it anytime they need it.
In the more hands-on portions of the course, students will work on team projects using their phone cameras in their homes to capture images and then using coding platforms to write algorithms that allow computers to perceive and interact with the visual world by augmenting reality. During class time, students will work in small groups writing code in breakout rooms. While students won't get to access some of the equipment they would in campus laboratories, Zickler said the firsthand experience working with limitations and finding creative ways around them is a critical lesson for any engineer.
"That's what engineering design is all about: Creating things with the constraints of the resources that you have available," Zickler said.
Some labs have also found ways to bring in field work, as well. Take the first-year seminar on microbial ecology and symbiosis taught by Colleen Cavanaugh, Edward C. Jeffrey Professor of Biology. The course typically features a number of field trips to observe microbes like lichens on the Boston Harbor Islands or corals at the New England Aquarium. Her course this year will still include some exploration to show students that "we live in a microbial world," said Cavanaugh. First-years living on campus, for example, will venture out to locations like Harvard Yard to look for legumes such as clovers, or algae from local ponds to bring back to their dorms and examine under microscopes (which will be included in their take-home lab kits) during class time, while students studying at home will do the same in their own environments.
Arts departments like Theater, Dance & Media have also recalibrated their thinking to recreate the feel of in-person rehearsals and redefine what constitutes live performance, said James Stanley, the artistic producer for the department. For rehearsals, for instance, they are experimenting with live-streaming software like OBS to cut down on virtual lag so all performers are in sync. Some professors, Stanley said, have changed courses to focus more on solo performances like monologues rather than scenes to work around this, and to give them one-on-one time with actors and dancers. The department also sees an opportunity to integrate more media such as short films into coming performances.
Andrew Clark, director of choral activities and a senior lecturer in music, said the Department of Music has made similar efforts. The three choir-based courses he teaches in the fall will focus on skill-building workshops for individuals and small groups to help students connect with Clark and with each other. He will also tailor lessons for the full groups, usually 40 to 50 students.
"If we were going to build a new space [online], it wasn't going to work unless the students themselves were the co-architects."
— Andrew Clark, director of choral activities
The choirs are also planning on incorporating other media and outlets like poetry, written reflection, illustrations, and even photography for performances to accommodate students in living situations where they can't sing or play instruments loudly. Clark enlisted the help of about 30 students over the summer to help think through some of these elements and more, like how to hold auditions online. "If we were going to build a new space [online], it wasn't going to work unless the students themselves were the co-architects," Clark said.
Across the board, most professors said the push to bring their courses online has been demanding. For his introductory class on neurobiology, Jeff W. Lichtman, the Jeremy R. Knowles Professor of Molecular and Cellular Biology, is recording about 70 lectures, synching them with PowerPoint presentations, and making them interactive to keep students engaged. (His 25-minute lectures won't proceed unless students answer questions that pop up on screen.)
Gearing up for a consequential fall
Faculty shape online classes to engage with COVID, race reckoning, election
Early responses indicate shift to online classes going well overall
Some running into minor hitches, but others finding surprising benefits
"A lot of people assume that professors, because most of us are researchers, especially in the sciences, that that's really all we do," Lichtman said. "But you don't come to an undergraduate campus if that's all you really are interested in. Most of my faculty colleagues do have an interest in conveying ideas to young people. They want to be professors in the literal sense. They want to profess; they want to teach; they want to encourage; and they want to enlighten. Throw a couple of obstacles in their way, and most faculty will try to figure out how best can we fulfill our mission."
Harvard University Health Services holds COVID-19 testing at Harvard Stadium.
Photos by Stephanie Mitchell/Harvard Staff


text:
https://www.sfchronicle.com/business/networth/article/FHA-will-now-back-loans-on-condo-units-in-14304069.php
FHA will now back loans on condo units in complexes that lack agency approval
By Kathleen Pender
Updated 4:15 pm PDT, Wednesday, August 14, 2019
The Topaz Way townhomes, notable for their panoramic bay views, are one of only 17 FHA-approved condo developments in San Francisco.
Photo: John King / The Chronicle 2015
In a major step three years in the making, the Federal Housing Administration announced Wednesday that it soon will back some mortgages on individual condominium units in condo complexes that are not approved by the agency.
In the past, buyers generally could not get an FHA-backed loan on a condo unit unless the whole complex had FHA approval, but only 6.5% of the approximately 150,000 condo complexes in the country had that approval. In San Francisco, only 17 complexes have been approved.
The new approval process is part of a rule change that will take effect Oct. 15. The goal is to increase homeownership among low-income, minority and first-time buyers, and seniors wanting to downsize. Often, these buyers see condos as an affordable option, but don't have the down payment, credit score or other qualifications needed to get a conventional loan backed by Fannie Mae or Freddie Mac. They could qualify for an FHA loan, but can't get one on a condo because the project is not FHA-approved.
Under the new rules, they might be able to. For projects that lack FHA approval, the agency will insure up to 10% of individual units in projects with 10 or more units, and up to two units in projects with fewer than 10 units.
In Dublin, a transit village near BART offers convenience, not community
Fannie, Freddie to up loan limits by $43,500 in most of Bay Area next year
Mortgage rates are down significantly over the past three weeks
Resources for lower-income home buyers
1st-time buyers losing to investors
There still will be a limited review of the project to make sure it has adequate reserves and meets owner-occupancy and other requirements.
Generally, the project would need at least 10% of the complex's total monthly unit assessments in reserves, and would need at least 50% of the units occupied by owners. Those are the same requirements FHA imposes on entire complexes today.
The new rule, however, also makes changes to FHA's approval process for entire complexes to make it more streamlined and flexible. For example, under the new rule, FHA could adjust its owner-occupancy requirement to anywhere between 30% and 75%.
The new rule is "going to lead to a surge in condo prices," said Ed Pinto, a fellow with the American Enterprise Institute think tank. It will make more affordable units available to more people. "That is going to increase demand. They haven't added supply. That is going to cause prices to go up."
In 2018, FHA backed only 16,200 condo-unit loans, which represented just 2.1% of its loan volume. The new policy "is expected to have a moderate effect on volume with a maximum impact ranging from 20,000 to 60,000 loans," the agency said in the rule.
Fannie Mae and Freddie Mac also approve condo projects, but will back loans on individual units in nonapproved projects upon a limited review. However, they might demand a higher down payment on those projects, said Kevin Stevens, acting director of the office of single-family program development with the U.S. Department of Housing and Urban Development, which oversees FHA.
FHA does not plan to require higher down payments on loans in projects that lack FHA approval, he added.
The new rules also apply to FHA-backed reverse mortgages, known as a Home Equity Conversion Mortgage or HECM.
The new rules are the culmination of three years of input from stakeholders, FHA Commissioner Brian Montgomery said in a news conference.
"Some credit goes to the previous administration for getting this started." It also fulfills the current administration's directive to eliminate regulatory barriers, he said.
Asked why so few condo complexes have FHA approval, Stevens said, "some don't want to get it approved, or it's the amount of work involved." Some projects get approval, but then don't get recertified because in the past, "it was onerous and time-consuming." The new rule extends the recertification period for an approved project to three years from two, and allows recertification by updating previously submitted information, rather than resubmission of all information.
Borrowers must still meet all FHA qualifications to get a mortgage, and can't get one bigger than FHA's limit. In the Bay Area, FHA insures loans up to $726,525 on single-family homes or condos in most counties.
Kathleen Pender is a San Francisco Chronicle columnist. Email: kpender@sfchronicle.com Twitter: @kathpender


text:
package com.scientificsoft.iremote.server.messages;

import com.scientificsoft.iremote.server.protocol.Guid;
import com.scientificsoft.iremote.server.protocol.IMessage;
import com.scientificsoft.iremote.server.protocol.MessageImpl;
import com.scientificsoft.iremote.server.protocol.Property;

public class AuthResponse extends MessageImpl {

    public static final Guid id_
        = new Guid(0x7680e9aa, 0x868f, 0x4f84, 0x8b, 0x4c, 0x3d, 0x41, 0x21, 0xb4, 0x87, 0x87);

    public static final int PROP_HOSTOS = 1;
    public static final int PROP_HAS_CODE = 2;
    public static final int PROP_CODE = 3;

    public AuthResponse() {
        super(id_);
        registerProperty(PROP_HOSTOS, new Property((int)0));
        registerProperty(PROP_HAS_CODE, new Property(false));
        registerProperty(PROP_CODE, new Property(new Guid()));
    }

    public IMessage clone() {
        return new AuthResponse();
    }

}

redpajama_set_name: RedPajamaGithub


text:
Nigerię na XXVIII Letnich Igrzyskach Olimpijskich w Atenach reprezentowało 72 sportowców (48 kobiet i 24 mężczyzn) w 10 dyscyplinach. Był to 13 start Nigeryjczyków na letnich igrzyskach olimpijskich.

Zdobyte medale

Linki zewnętrzne

Państwa uczestniczące w Letnich Igrzyskach Olimpijskich 2004
L2004
Nigeria w XXI wieku

redpajama_set_name: RedPajamaWikipedia


text:
Tariff for oil pumping via Belarus up 3.7% from September until year-end
Russia and Belarus negotiated an increase in the oil pumping tariff over the Belarusian territory by 3.7% from September 1 until the year-end, with further adjustment from January 1, 2020, Deputy Prime Minister of Russia Dmitry Kozak told reporters on Thursday.
"Plus 3.7% from September 1. Until the end of this year," the official said. The tariff will also be adjusted upward under the general rule from January 1, 2020, using the already existing methodology for the tariff increase between the countries, Kozak said. Negotiations on the rate of such adjustment are not held, he noted. "Everything is clear with us in this regard. We have methodology and the decision will be made at the turn of December," the deputy prime minister said.
"Proposals of the Belarusian side are fair. Their oil pumping tariff is much lower than in Russia. However, there is the methodology of upward adjustment and bringing to the Russian level — so we are moving step-by-step in this direction," Kozak stated.
Russia and Belarus reached an agreement to increase the tariff on oil transportation over the Gomeltransneft Druzhba main oil pipeline across the territory of Belarus by 3.7%, Deputy Head of the Federal Antimonopoly Service of Russia Anatoly Golomolzin told TASS on Wednesday.
The Druzhba oil pipeline provides supplies of oil to Belarusian refineries and its transit to Europe through Belarus, Poland and Ukraine.
In mid-April, Belneftekhim reported a sharp deterioration in the quality of the Russian oil running through the pipeline. As a result, several countries stopped receiving and refining the Russian oil. The contaminant source was revealed at the Samara-Unecha section. Transneft said that the Russian oil in the Druzhba pipeline was deliberately contaminated. Russia's Investigative Committee claimed that contaminated oil was loaded into the Druzhba oil pipeline in order to conceal multiple oil thefts.
Supplies of on-spec oil to Belarus resumed in early May. On June 3, the talks on the settlement of the issue around the supplies of contaminated oil were held in Moscow, after which Russia's Deputy Energy Minister Pavel Sorokin told reporters that all participants reached a common understanding of the principles for the calculation of compensations for supplies of off-spec oil.


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Karbonkopia är en kopia framställd samtidigt som ett original med hjälp av karbonpapper, och i överförd bemärkelse bara "exakt likadant exemplar".

En karbonkopia framställs genom att ett karbonpapper läggs mellan det papper originalet skall skrivas på och ett underliggande papper. När man sedan skriver eller tecknar på originalet skapas en kopia på det andra papperet med hjälp av karbonpapperet som färgar av sig.

På skrivmaskinernas tid begagnades karbonkopiering framför allt av sekreterare för att få flera exemplar av dokument.

Med karbonpapper kan man få uppemot 10 exemplar, men med viss ansträngning kan man hamra fram 14 kopior på skrivmaskinen. Då måste man använda tunna papper, helst 30 g, varvat med lager med karbonpapper, samt utveckla en anslagsteknik som är mycket kraftfullare än den som brukas på datorers tangentbord.

Rubrikraden CC: i e-postmeddelanden har sitt namn från karbonkopian (eng. carbon copy): den avser dem som skall få en kopia av meddelandet, i motsats till dem som skall ha brevet i original. Användandet sträcker sig tillbaka till skrivmaskinister, som kopierade dokumentet med karbonpapper.

En alternativ etymologi till förkortningen "cc" är att den är äldre än karbonkopiorna och kommer från att man i Latin använder dubbla bokstäver för plural, vilket lever kvar bland annat i engelska "pp" för "pages" sidor. Därmed borde även "cc" betyda kopia i plural.

Se även
Blåkopia
Faksimil
Stencil

Referenser

Kontorsvaror


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info@skillset.co.uk
Tailored eLearning
Off-the-Shelf eLearning
Instructor-Led Learning
Software Training Support
elasticLearning
Upgrade and rebranding of Moodle learning management system
Delivered for TRADE SKILLS 4U
Upgrade of Trade Skills 4U's Moodle LMS
Training and ongoing support
Trade Skills 4U is a national electrical training company. They have centres in Gatwick, Central London and Warrington, where 1000s of new and experienced electricians have passed their qualifications.
Trade Skills 4U contacted SkillSet, having recently introduced blended learning into its main qualification packages. This included SCORM-based eLearning modules, which were hosted on an existing Moodle learning management system.
This system was using an outdated version of Moodle, which meant that the site wasn't providing Trade Skills 4U with all of the functionality that was required. Also, it was not visually appealing and intuitive to use.
SkillSet was therefore engaged to update the LMS to the latest version of Moodle and apply new visual templates to match the Trade Skills 4U brand.
Trade Skills 4U asked SkillSet to move the Moodle site from their internal infrastructure to SkillSet's. This allowed SkillSet to take full responsibility for hosting, monitoring and maintaining the site.
The first step was to take a back-up of Trade Skills 4U's existing Moodle LMS. This allowed our team to create a Linux-based staging site using Amazon Web Services (AWS).
SkillSet is proud to be a Consulting Partner with AWS. This alliance allows us to provide our customers with guidance on security, resilience, performance and back-up, ensuring that their cloud environment meets their requirements exactly.
Using the staging site, we then upgraded the system to the latest version of Moodle. We also updated all plug-ins and PHP on the staging site. At this point, Trade Skills 4U was invited to test the upgrade to ensure there were no functional errors.
Once the upgrade was in place, we then applied a new theme and configured this based on the Trade Skills 4U website to match the company's branding.
SkillSet then configured the default dashboard to ensure that users have the required functionality at their fingertips and anything that is not required was hidden. We also set up tracking to allow students to track their progress through a particular course.
Trade Skills 4U signed off the staging site from a functionality, theme and dashboard perspective. We were then able to switch this over to the live site, with minimal disruption.
Finally, SkillSet provided support to Trade Skills 4U with a training workshop. This was held over two sessions, in which we worked through queries, customer feedback and general Moodle support.
Trade Skills 4U now has a robust, up-to-date Moodle, which allows the company to scale their business, continuing to add new courses and new clients.
The solution can be iteratively developed to support Trade Skills 4U's requirements.
Since the initial implementation, SkillSet has worked with Trade Skills 4U's clients and suppliers to create new integrations and new ways of working.
The SkillSet support team are ready to help when required and will continue to host, monitor, and maintain the site.
OUR PARTNER'S FEEDBACK
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Lately, I had some problems with stalling transfers when using scp, the file transfer tool for the SSH protocol and part of the OpenSSH suite. Here is a report on what happened, how I found the cause and how I applied the solution. Actually, this is a pretty lame story, but I just wanted to write it down anyway.
This entry was posted in English, Hacking, Software and tagged connection, linux, network, networking, openssh, scp, software, ssh, stall, stalled, stalling, transfer on 2012-05-31 by Rainer Müller.
After the upgrade to Linux kernel 2.6.38, the boot process for my machine hang quite long while Populating /dev with existing devices through uevents. After investigations it turns out that the cx88 driver used for my Hauppauge WinTV HVR-1300 tv card was not correctly converted to the new mutex system while removing the BKL. This is being tracked in the kernel bugzilla as bug #31962.
After applying the patch, build and install your kernel as usual. But there are still some more problems with 2.6.38 related to tvtime. See also my next post.
I do not follow kernel development close enough to know in which git tree this has to show up to confirm if it has been merged yet. Hopefully this patch will make it into the next kernel release.
This entry was posted in English, Software and tagged hauppauge, hvr1300, kernel, linux, patch, v4l on 2011-04-06 by Rainer Müller.
Bereits seit Weihnachten besitze ich nun einen Oyo. Dabei handelt es sich um einen E-Book-Reader, der in Deutschland von Medion produziert und von Thalia vertrieben wird und international gibt es dieselbe Plattform von Qisda auch unter anderen Namen. Das Gerät ist ARMv5-basiert und es läuft bereits ein Linux-System darauf. Die mitgelieferte Oberfläche zum Betrachten von Büchern, Browser, Audio-Player usw. ist mit Qt/Embedded implementiert.
Es sollte daher ja möglich sein, auch andere Verwendungsmöglichkeiten für den Oyo zu erschließen (z.B. als Organizer mit Kalenderfunktion, als Fernbedienung mit einem mpd-Client, usw.).
This entry was posted in Embedded, German, Hacking and tagged ebook, ebook reader, linux, oyo on 2011-03-26 by Rainer Müller.


This work is a derivative of "Envelope" by Tim Morgan, used under CC BY.
If you want to see improved email open rates, then spend time crafting an effective subject line. By working the subject line, you've overcome a third of the battle because 33% of email recipients open email based on subject line alone.
Check out these 7 easy tips for improving email open rates by writing a better subject line.
Most people will spend about 15 seconds reading your email. Give them what they want to know, not some vague trickery in the subject line to try to get them to open it.
Get to your point quickly and keep to one topic, and be sure to make it relevant to your email content.
Your subject line has room for only one subject and no more than 50 characters. You need to say a lot in a few words, making it descriptive and to the point.
Using fewer than 10 characters could mean an open rate of 58%, so keeping it short is a mean feat of concise success.
The last thing you want to do is trigger a spam filter in your recipient's email system. These emails will never get read if they go straight to the trash.
By personalizing the subject line with the recipient's first name or something else pertinent, you're establishing trust. It's a reminder that they have given you a name and email as a way to communicate.
The personal approach is a way to break through the large amount of clutter your audience receives in their inbox and stand out from the crowd.
You can create a sense of urgency by offering an incentive for your recipient to open the email. But be careful here. Sounding too slick and salesy can backfire and turn people off. The best subject lines tell, not sell what's inside.
It's also not a good idea to put a date in your subject line in an attempt to build urgency. This will date your email for those who don't check email often.
This reminds recipients of the relationship you have, as well as making sure they are aware of the nature of the content. Sometimes on smartphones email providers only display the subject line and not the sender name, making it more important to include a company name.
Speaking of the sender name, it's important to get it right. Okay, so this isn't in the subject line, but it's located directly above it and should reflect your company name and image. Call it the subject line's counterpart.
The best way to know what is working is to test it! Check your open rates and compare this with your subject lines to find out how your audience and specific marketing situations respond to different attempts.
Have mechanisms for feedback at every important point in your business process, and that includes soliciting ideas from customers on how to make improvements.
make money every single day.
Sounds like you're doing it right, Reagan! Thanks for your input.


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Richard Serra and Hal Foster
(Yale, 2018)
In May 2008, as the Parisian daylight stretched into summer hours, Richard Serra's set of five 56-foot-tall steel plates, Promenade, had taken over the city's cavernous, glass-roofed Grand Palais. In the Tuileries Garden, Serra's 1983 work Clara-Clara, with its paired, inverted semicircles (or more precisely, conical sections), had been reinstalled in its original location at the garden's gate to accompany the new work. I was a graduate student in Paris at the time, and I watched as Clara-Clara elicited strong reactions from promenaders in the garden. Over the first few weeks of the installation, dusty white handprints and footprints began to appear on the sculpture where passersby had taken the work's presence as an affront or physical challenge and slapped or kicked the curved sides of the sculpture.
In Serra and Hal Foster's series of conversations—edited to form the 13 chapters of Conversations About Sculpture that guide the reader through subjects ranging from Serra's early influences and engagement with art history to the primary conceptual motivations behind his work to the controversies that have shaped his public persona—Serra insists that Promenade's string of looming vertical plates, installed down the central axis of the Grand Palais, did not reinforce their own monumentality, or overbearing effect. Instead, the plates dislocated the easy path down the center of the 19th century glass palace, offering visitors a choice of how to proceed around them. "One of the reasons I became interested in the dislocation of paths," Serra reveals, "is to create a more complex matrix for the viewer." (Of his more recent works that interlock ellipses and other fluid geometrical structures, like those in Richard Serra Sculpture: Forty Years at MoMA in 2007, Serra refers to this dynamic of dislocation and choice as "thinking on your feet.")
One of Serra's guiding principles, that he and Foster return to again and again throughout these conversations, is his resistance to the reduction of his sculpture to an image. As Foster explains in his introduction to the book, Serra's resistance is to the psychological concept of the gestalt, or a coalescing of a perceived object into a unified image rather than a set of discreet stimuli. In 2008 the Tuileries's Clara-Clara made this resistance clear, defying resolution into an urban pastoral image with the rest of the park to the point that park-goers desired to make physical contact, to feel its texture, or maybe to push it out of the frame of the sleek, manicured lawns and allées.
Often, though, Serra's sculptures exude the effects of monolithic works. Union of the Torus and the Sphere (2001)—a work that New Yorkers know from its installation at Dia:Beacon, for example—has an imposing, closed, warped presence, with the seam of the two plates betraying the light and space at the center of the sculpture at one end of the work. Serra's perspective on his own work—his explanations for how and why he makes work, and how he believes his works live in the world—conveys a similar effect. Some of the pleasure of reading this book derives from that effect of an artist who has engaged deeply with art history and the place of his work in it. (Some of the pleasure derives from moments of tension between Serra and Foster that arise as the artist interprets his own work and other works from recent art history. In one illustrative example, Serra judges the use of photographs by Robert Smithson and the Pictures Generation as too textual, estranging the artwork from the physical world we live in; for Foster, this is precisely the strategy artists like Cindy Sherman and Louise Lawler embrace, turning Serra's "problem" into a strategy for commenting on the mediatized world we live in. Foster, the art historian and critic, has the last word.)
As Foster points out at moments throughout these conversations, Serra's reading of his work shares some of its spirit with some tenets of philosopher Maurice Merleau-Ponty's phenomenology—specifically, Merleau-Ponty's explanations for how we perceive the world from the vantage of our bodies. Serra recounts several anecdotes (watching a train bend along a track from a vantage point in one of the train cars; watching the sea as he walked up the beach only to turn around in the other direction and have the world's volumes shift) that Foster compares to tales from Merleau-Ponty. "A right-handed world first, so to speak," Foster explains of Serra's beach story, "then a left-handed world, sutured together by your body, with the world pivoting on your turning."
In these conversations, Serra stakes out a territory against the image as well as against intention. Like the textuality he criticizes in Smithson's works, intention and language are not to supplant the experience of perceiving the work, a precept that Serra references to delineate further his quarrel with Conceptual art. Serra argues his well-known Verblist (1967–68) is not conceptual since it does not prescribe a concept; it makes no statement, he argues, but rather offers a list of actions that describe processes. As Serra's wife, Clara Weyergraf-Serra, who contributes to several of the conversations, puts it, "[T]he Verblist actually generated works." And in referencing a more recent return to drawing in his practice, Serra remarks on the importance of "[t]he nuance of the experience of making, the sheer pleasure derived from the activity of drawing." Making supersedes intention or composition in some ways. "The gestalt," Serra explains, "is a great limitation, a pictorial limitation: the viewer can complete the image of an object by looking at one part only." In other words, works easily reducible to the pictorial—to artistic intention, or pictorial composition—rob the work and the viewer of surprise, of the pleasure of making the work or the experience of viewing the work.
In discussing his return to drawing, Serra calls his drawings more lyrical than his other "heavy pieces." The book's black-and-white frontispiece, a photo by Robert Frank, catches Serra half in shadow, his head and shoulders illuminated like a sculptural bust against the arching background of his own sculpture. The image heroizes Serra in a mythic moodiness, like one of his "heavy pieces," his eyes peering out beneath a furrowed brow and smooth bald head gleaming white in the light, rhyming with imperfections in the metal of the sculpture that gleam white in the upper right background of the image. But, Weyergraf-Serra offers an anecdote that proposes a different way of perceiving heaviness in Serra's sculpture. "A surfer," she recounts, "wrote a delightful text about the torqued pieces comparing them to surfing—to the kind of exhilaration he feels when pushing off on a rising wave." Heaviness—as a physical quality of the work, or conceptual armature of the artist or critic—becomes a play of perception, an effect of gravity, a force that you might use to propel yourself weightlessly forward.
Phillip Griffith
PHILLIP GRIFFITH is a writer, editor, and scholar living in New York City.


In honor of National Yoga Month, OMBE is honoring our yoga instructors this week. OMBE is featuring Jessica Emilfarb, RYT, one of our extremely skilled yoga instructors. Jessica teaches our Gentle Flow and Mindful Flow classes.
All yoga classes are just $15 for the rest of the month! Interested in private yoga sessions? We're offering 20% off our 3-series private yoga package.
Call OMBE's front desk (617.447.2222) for more information or book online!


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How to Get Five Years and a Felony
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Brumell News, Case Closed, Fraud
The following is part of our ongoing Case Closed series, where we highlight specific cases that we investigated and saw through to the conviction and sentencing process. Our goal is to see cases closed and fraud put an end to, which is why we see these cases all the way to the end.
How to Identify Malingering
Fraud, Investigations
In the world of insurance claims, medical assessments, and disability cases, malingering is a very important factor to consider. Being able to identify malingering is a critically important skill, especially for a Special Investigations Unit (SIU).
Why Use an External Resource for an Internal Investigation?
Articles, Fraud, Investigations
There are many instances within a corporate entity where allegations of fraud, misconduct and other crimes must be investigated. In order to keep the investigation private, confidential and unbiased, soliciting the services of a third party is warranted.
Case Study: Helping Retail Stores Fight Fraud
Brumell News, Case Studies, Fraud, Investigations
When Jeff Schneider started as the Senior Manager of Liability in 2011 at a large Southeast grocery store chain, the company was suffering from an excessive amount of fraud, along with the financial costs associated with that fraud. Fraud is a crime that has a cost born by everyone, including both the company and its customers. He knew that the stores were losing money, and were being forced to pass some of those costs on to the consumer. It was a problem that needed to be addressed, and quickly. Schneider chose to bring the Brumell Group forward to take up the task.
Fraud in High Heels
On October 15, 2010, the claimant, Gina Marie Cruz, allegedly suffered an injury to her right wrist. Four days later, she came in on crutches, claiming an injury to her ankle. Through research and a full investigation, Brumell Group learned…
What is Catastrophe Fraud?
Fraud, Investigations, SIU
Catastrophe fraud occurs when there has been a natural or man-made disaster. Those that are insured need help quickly, and insurance companies respond fast to all claims to ensure the safety and wellness of the people they cover. Catastrophe fraud comes in several forms, but essentially it means that people are taking advantage of insurance companies when a natural or man-made disaster occurs.
The Purpose and Process of Pre-Employment Screenings: New White Paper Available
Brumell News, Fraud, Investigations, White Papers
Do you know how much a bad hire could cost you or your company? It can be tempting for businesses to skip the background investigations in certain situations, but it is never recommended. With nearly half of resumes including some kind of discrepancy, pre-employment screenings are vital for any business that values security, capital and morale.
The Fraud Triangle Theory
Fraud is a crime that is more costly than most people realize. According to the FBI, non-healthcare related fraud alone is estimated to cost the U.S. over $40 billion a year! Yet fraud and other unethical behavior does not happen randomly. Certain factors must be present to allow most individuals to commit these crimes.
American criminologist Donald Cressey developed a theory – known as the Fraud Triangle – that explains the factors that lead to fraud and other unethical behavior. When businesses and organizations understand the Fraud Triangle, they can more effectively combat criminal behavior that negatively impacts their operations.
Fraud News Articles From 1973
Articles, Brumell News, Fraud
Fraudulent activity has and always will be an issue in our society. These articles from Miami News date back to 1973 and prove the problem of fraud is timeless — and costly in automotive and medical insurance claims, as well as other areas of profession. Thank you to John Kruzewski for sending our way!
Red Flags of Fraud
By definition, fraud is "a false representation of a matter of fact – whether by words or by conduct, by false or misleading allegations, or by concealment of what should have been disclosed – that deceives and is intended to deceive another so that the individual will act upon it to her or his alleged injury for benefit." With insurance fraud costing companies billions of dollars each year, it's necessary to have professional investigators reviewing each case for potential fraud. Claimants that abuse the system will need to be prosecuted with solid evidence collected by an investigative team.
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Selection Tuesday: Stats Perform's Proprietary Model Reveals its NCAA Tournament Bracket
By: Evan Boyd
If you're anything like me, you wish today was spent making some final tweaks to your bracket and second-guessing yourself about who might be able to win it all. Since the NCAA announced the cancellation of the tournament on Friday, there has been speculation the selection committee could still announce the field of 68.
Senior vice president of basketball Dan Gavitt told CBS Sports that the NCAA had received interest from coaches and athletic directors in the releasing of a bracket. That sentiment was echoed by some members of the media and fans across social media.
Gavitt, however, released a statement over the weekend explaining that the committee had only just started the selection process and that the bracket would not be unveiled despite some fans longing for an inkling of closure on the season.
Instead, Stats Perform will try to fill the hunger fans may have to see not only who would have made the tournament, but also who might have won it all. Perhaps it will also provide a little bit of a much-needed distraction during this global crisis.
How does our bracket work? Stats Perform's award-winning research team has been able to track the country's true top teams, creating its own Bracketology model using a formula that includes advanced data from our AI team, NET ranking and results from both conference and overall play. The teams are then grouped into tiers based on their offensive and defensive ratings, with the top-tier clubs earning the best seeds.
Below is what our NCAA Tournament bracket looks like on our Selection Tuesday (click on the bracket to enlarge it). Print out your own Stats Perform bracket, fill one out and tweet it to us at @StatsBySTATS.
Stats Perform's First Four Out:
Northern Iowa
Keep in mind that this bracket includes teams that had a chance to win their conference tournaments before any postponements. That's how teams like Bradley and Utah State got in.
Using our model, we are able to predict the rest of the teams that were likely to win their conference tournament, and thus qualify for the Big Dance. And just like the upsets that occur in real life, the model liked some teams that weren't in first place in their respective conferences. For example, Louisiana Tech qualified over both North Texas and Western Kentucky, and UC Irvine made the tourney despite falling to CSUN on March 4.
But we are not done with March Madness quite yet. This week, we will simulate our version of the NCAA Tournament through each round, using a similar groundbreaking model to calculate win probabilities for each team. For example, Arizona is projected to have a 67% chance of beating Yale. But we will only simulate once, leaving room for the upsets that make March Madness so great.
Check back in on Wednesday as we will simulate the first four games of the tournament. You can follow us at @StatsBySTATS for stats and insights on the sports world.


I feel the position I have accepted in life is a media specialist & creative. My skill sets are incorporated in all aspects of the media industry. My dream is to one day set up or run a television station, production house, newspaper or a magazine. Recently I have been also wanting to add a consumer goods shop to that list. I would love to own a store like the Virgin mega-store that you see in most big shopping centres these days. Fingers crossed I'll get there. Technology is my world. Work is all I know.
Skills : Dependable, Good Manager, Marketing Specialist and researcher, Technical, Software, Designer, Photographer, Videographer, Video Editor, Website Designer.


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If Bach was a cellist, VOL. 5 - Concerto in C minor
Home > Departments > Sheet Music > Strings > Two Cellos & Piano > If Bach was a cellist, VOL. 5 - Concerto in C minor
Others in the series:
The If Bach was a cellist series
The purpose of the series if Bach was a cellist is to live the fantasy that everything Bach wrote, he wrote for the cello. It may also serve as a way for cellists to get close to Bach through works other than the six solo suites and the three gamba sonatas.
Cello Concerto in C minor for two cellos and piano. C minor becomes a powerful key in Bach's hands. It sets the tone of the composition, weight is added, and one can even sense how it directs Bach's thought-process. The present concerto exists as BWV 1060 for two harpsichords, but if Bach was a cellist, his prefered version would have been for two cellos.
Two Cellos & Piano
If Bach was a cellist


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best home design ideas, like Dream Bedroom Ideas. Teen Girl Bedroom Design. Walk In Shower Remodel Ideas. Female Bedroom Ideas. New Bathroom Designs. Small Kids Room Ideas.