text:
Angela's Guidebook
Členem od 2015
World Heritage Wilderness Area
Day trip: drive 77 kilometres, or a drive of 1 1/2 hours from Devonport. Make a day of it and explore Cradle Mountain's. go for a hike or bush walk. marvel at the magnificent scenery, enjoy the purity of the air, wild rivers and waterfalls, plus unique flora and fauna. Part of the Tasmanian Wilderness World Heritage Area. Vegetation: grassland, rainforest, ancient King Billy pine and native deciduous beech. Park wildlife includes Tasmanian devils, quolls, platypus, wombat, echidna and several bird species.
místní doporučují
Day trip: 87 kilometres from Devonport, 1 1/2 hour drive. Dove Lake circuit walk is 6.5 KM in length and it takes about 3 hours. some bush walking experience is necessary as tracks may have short steep hill sections, rough surfaces and many steps. The area can be subject to severe weather conditions and the weather can change quickly. A valid Parks Pass is required. the circuit starts from the Dove Lake car park at Cradle Mountain. Dove Lake is a glacially carved lake directly beneath Cradle Mountain.
Dove Lake Circuit
Hiking or bush walking
Trowunna Wildlife Sanctuary
47 minute drive away or 62 kilometres. Trowunna Wildlife Sanctuary is recognised as a world leader in Wildlife conservation. There are three free daily tours as part of your admission price. On tour, you can touch a devil, meet a wombat and view a Tasmanian devil social feeding. Learn all about Trowunna's breeding programs including their work in helping save the Tasmanian Devil. Trowunna Wildlife sanctuary is set in 82 acres of native bushland at Mole Creek. The Sanctuary is close by to Cradle Mountain and Mole Creek caves.
1892 Mole Creek Main Rd
Day trip: a 1 hour and 45 minute drive will take you to Bridestowe Estate. Bridestowe is the largest lavender farm in the Southern Hemisphere, famous for the spectacular view of the lavender in bloom in December and January. Visitors are welcome all year round.
Bridestowe Lavender Estate
296 Gillespies Rd
Lillico Beach Conservation Area
10 minute drive from Devonport. Fairy Colony at Lillico Beach. Little penguins are sedentary; in fact, they build a burrow and return to the same spot night after night after spending the day in the ocean feeding. This makes little penguins perfect for bird watching, but they are shy and timid birds mostly, so you need to be careful to not upset them. Here are some tips on where you can see them. Little penguins return after dark from feeding in the ocean. They gather together on the water's edge before making a dash up the beach to their burrows. if you are on the beach as they are trying to return, they may get scared away, so try not to get between the water's edge and the burrows. Also, watch where you put your feet, or stick to built paths, to make sure you do not trample a burrow or penguin. Little penguins are shy and they can be startled by bright lights and too much movement and noise from excited humans. Keep still and quiet when waiting for the penguins to return from a day's feeding and only use dim, red lights to watch the penguins.
Sheffield is a 30 minute scenic drive from Devonport. Sheffield is reknown for it's murals that trace the history of the area and feature Cradle Mountain pioneer Gustav Weindorfer, Tasmanian Tigers, and pictorial representations of characters and stories of the past. Steam train rides at Sheffield Steam and Heritage Society. The Redwater Creek Steam and Heritage Society offer a heritage rail experience through the regular operation of a century old Krauss locomotive. The train leaves each half hour from the restored Sheffield railway station from 11am to 4pm on the first full weekend of each month and during summer, also on the third weekend. While in Sheffield, check out the galleries, art studio space, historic buildings, eat at the pub, or pick up some coffee, fudge or something from the bakery.
Just 13 minutes from Devonport, Latrobe is an historic town on the Mersey River. visit the park and river at Bell's Parade, cross the bridge and walk around Pig Islane. Enjoy walking on some of the bushtracks or sealed pathways and look for birds, wildlife and orchids. Enjoy a hot meal at the Pub or drop in to the bakery. Take a walk along the main Street, look out for the galleries, coffee, ice-cream and fudge. Call in at Reliquarie and be amazed at what is on display.
natural wonder
Marakoopa Cave
58 kilometres or a 57 minute drive will take you to the Marakoopa caves. take the The Underground Rivers and Glow Worms Tour of Marakoopa Cave and see the sparkling crystals, reflective pools, stalactites and stalagmites of the lower chamber. Hear the music of underground creeks and soak up the silence of abandoned river passages. or, choose the Great Cathedral and Glow Worms Tour and see the delicate formations and beautiful colours as you climb into the Cathedral chamber where voices are amplified by the amazing natural acoustics.
330 Mayberry Rd
The Nut
Day trip: 126 kilometres away or 1 1/2 hours. take a day trip to the historic village of Stanley, in far north-west Tasmania, nestled at the base of the Nut, a sheer-sided bluff - all that remains of an ancient volcanic plug. A very scenic location that rises out of a small fishing village. A walking track climbs to the summit of the Nut, or you can take the chairlift, with its spectacular views across Bass Strait beaches and over the town.
Leven Canyon Lookout
50 minutes drive from Devonport or 53 kilometres. Come to the edge of a dramatic canyon with a river twisting and roaring 275 metres below – and hear nature's wild call. It's rare in the world to find a powerful place like Leven Canyon that's so easy to access. The reserve, almost 2,500 ha, is a refuge for Tasmanian plants, animals and birds. Experience them on a range of fascinating walks, most of them easy. Relax in bushland surrounds while having a picnic or barbecue. There's much to explore, so allow at least two hours on-site. Walks include Cruickshanks Lookout, Forest Stairs, Edge Lookout Track, Fern Walk and Canyon Floor Walk.
Day trip: 1 1/2 hours/130 kilometres to remote Cape Grim on the northwestern tip of Tasmania where you will breathe the cleanest air on the planet, according to a measuring station on the cape which is about 1 hour away from the nearest town of Smithton. The air is so clean, that the local region bottles and sells it's air and water to regions that are heavily impacted by polluted air. Tours operate on demand and are the only way to access Cape Grim and the Coastline. Bookings are essential *a guided tour of the historic Woolworth property includes Australia's biggest dairy operation, beef grazing, Tasmania's first wind farm which is in the path of the roaring 40s, views over the Southern Ocean, and the clean air monitoring station. .


text:
Hawaii Agriculture
July 30, 2010	General Ag News and Notes Post a Comment
A&B earnings hit $28.9M in 'strong second quarter'
Alexander & Baldwin Inc. said it earned $28.9 million, or 70 cents per share, in the second quarter.
President Stan Kuriyama called it "a strong second quarter" compared with the $12.6 million earned in the second quarter of 2009.
Revenue was $398.9 million, compared with $351.0 million for the year before.
On Maui, Hawaiian Commercial & Sugar Co. made a sharp rebound after a bad 2009, which had the A&B board of directors considering whether to continue in sugar.
For the first half – a more informative period for comparison than just the second quarter – operating profit in agribusiness (which includes Kauai Coffee) rose by $13.9 million and net profit edged into the black at $700,000. Agribusiness had lost a net $13.2 million in the first half of 2009.
HC&S shut down its mill for an unusually long refit and it reorganized its plantings, which have been affected by drought for several years. Operational improvements combined with better prices for raw sugar turned losses into profits.
For the January-June period, Maui Brand specialty sugar sales were down $2 million and molasses sales were down $1.3 million, but power sales were up $1.5 million. Coffee sales increased by $1.5 million as well.
The big gains came from raw sugar, whose output was 31 percent higher, primarily from better growing conditions.
For the first half, net income for the whole company was $46.2 million, or $1.12 per share, compared to $15.6 million the year before.
First-half revenue was $743.6 million compared with $665.8 million the year before.
Kuriyama said Matson Navigation Co. and real estate sales improved, "highlighting the benefits of our market diversification."
Matson is A&B's biggest subsidiary, and while Hawaii traffic was relatively stable in the second quarter, China business drove operating profit up by 75 percent to $37 million. Revenue for the quarter was up nearly $30 million to $257 million.
Kuriyama said confidence in the China trade is so high that Matson has chartered five ships (of 3,500 TEU, or 20-foot container equivalents) to run weekly service between three ports in China and Long Beach.
By contrast, Hawaii container volume was down by 600 units to 33,700.
Automobile shipments, reflecting the very slow sales of new cars in the islands, dropped to 21,100 in the quarter compared to 27,200 in the same quarter a year ago.
However, Matson still moves more than twice as many containers to Hawaii as it does to China. Even Guam's volume (4,200 in the past quarter) is nearly a third of the China volume.
Kuriyama said real estate states, episodic in nature anyway, were "relatively consistent" with last year and "well ahead on a year-to-date basis."
Leasing results were down, reflecting pressure on rents due to economic sluggishness, although occupancy rates remain well below accustomed levels on the Mainland and slightly below usual levels in Hawaii.
In the second quarter, Mainland occupancy rates were 86 percent, up from 84 percent. Hawaii rates were down from 95 percent to 93 percent.
A&B earnings hit $28.9M in 'strong second quarter' – Mauinews.com | News, Sports, Jobs, Visitor's Information – The Maui News
A&B earnings triple on strength of Matson's China service and sugar operations
A&B's agribusiness sector recovers but shipping down – Mauinews.com | News, Sports, Jobs, Visitor's Information – The Maui News
Alexander & Baldwin profits rise
Maui Land & Pine loses $4.6M in 2nd quarter
Maui Land & Pineapple Reports 2009 1st Quarter Results
Matson profit soars on goods shipped from China
A&BALEXmatson navigation co
ML&P nears deal to pay off $40 million debt
Case boosts investment in ML&P
bigwave
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redpajama_set_name: RedPajamaCommonCrawl


text:
Orlando hot pot spots simmer up something special — connection
Universal Orlando's Epic Universe theme park starts to rise up
Disney maid: I left toddler in hot car to seek time off for child care
By Krista Torralva
Myriam Lubincadet, 37, said she agreed to babysit the 2-year-old girl and was asking for the afternoon off when the child was found in the hot car. Lubincadet told deputies the girl was in the car about 30-45 minutes.
A woman arrested after a toddler was found in her sweltering car Monday afternoon told the Orlando Sentinel she left the child while she went inside a Walt Disney World resort, where she works as a housekeeper, to try to get her manager's approval to take the afternoon off to care for the girl.
Myriam Lubincadet, 37, said she agreed to babysit the 2-year-old girl while the child's mother was in labor. She said she picked up the child and left her about 12:15 p.m. in the car in the employee parking lot of Disney's Grand Floridian Resort & Spa. The temperature in the child safety seat in which the girl was found was 113.5 degrees by the time another employee found the child "crying and sweating profusely" about 1:05 p.m., according to an arrest affidavit.
"I love her," said Lubincadet, who said Tuesday she is a cousin of the child's father. She said she spoke to the father and "everything is ok."
Lubincadet, of Orlando, said she only meant to leave the child for about five minutes while she talked to her manager. When she found her manager, she said he told her he had been told about the girl left alone in the car and said he thought she was in trouble.
Another employee in the parking lot heard crying and looked for the child, according to an Orange County Sheriff's Office arrest affidavit. The girl was found in the locked car and the windows were partially rolled down. The girl's temperature was 97.1 degrees, according to the affidavit.
Bring a jacket, Wednesday starts off chilly, but expected to warm up
Soaring prices, low inventory make 2021 a record year for Orlando real estate
The child was taken to Florida Hospital Celebration Health where she was in stable condition, deputies said.
Lubincadet told deputies the girl was in the car about 30-45 minutes, according to the affidavit. Lubincadet was arrested on suspicion of child neglect and was taken to the Orange County Jail. Bond was set at $1,000, which she posted Tuesday.
Disney did not respond to requests for comment.
ktorralva@orlandosentinel.com or 407-420-5417 or Twitter @KMTorralva
Interactive map: Every homicide in Central Florida » »


text:
Q: Display the last 3 messages for each user I'm not very experienced with data bases (only do certain amount of work acceptable for the front-end developer)
Anyway, I ran into the problem, that I am trying to solve in MySQL... Let's say I have two related tables tables:
users (id INT, user_name VARCHAR(20))
id  name
-----------------
1   Mike
2   Maria
3   John

message (id INT, user_id INT, message TEXT, created DATE)
id    user_id    message        created
--------------------------------------------------
1     1          message 1      2014-05-01 12:12
2     3          message 2      2014-05-01 15:27
3     2          message 3      2014-05-02 14:57
4     2          message 4      2014-05-02 16:14
5     3          message 5      2014-05-03 16:15
6     1          message 6      2014-05-07 10:39
7     1          message 7      2014-05-01 12:27
8     1          message 8      2014-05-02 20:16
9     2          message 9      2014-05-03 05:01
10    1          message 10     2014-05-04 11:05
11    2          message 11     2014-05-06 20:41
12    1          message 12     2014-05-07 14:32
13    3          message 13     2014-05-08 12:54
14    3          message 14     2014-05-09 23:20
15    1          message 15     2014-05-11 00:45

I need to come out following output to display last 3 messages for each user:
id   name        m1             m2            m3
------------------------------------------------------------
1    Mike        message 15     message 12    message 6
2    Maria       message 11     message 9     message 4
3    John        message 14     message 13    message 5

Intuitively I understand that I have to use Inner Join, but my brain starts to melt after second or third line.
There've been number of examples where the output was only for the last message (m1), but they were using sort to find the last message.
Any help would be appreciated.
Update:
I was initially trying to do it with a left join, but then end up with this one. I mean it worked (but really badly). It was concatting all the messages into one string line (1024 chars).
 SELECT u.name, GROUP_CONCAT(message ORDER BY message.created DESC) messages
 FROM messages m, users u
 WHERE u.id = m.user_id

A: If you were using a different RDBMS, this wouldn't be as difficult.  But basically you need to get a row number per user, and then take the most recent using max with case.
Something like this should work:
select u.id,
  u.user_name,
  max(case when rn=1 then message end) m1,
  max(case when rn=2 then message end) m2,
  max(case when rn=3 then message end) m3
from users u
  join (
      select id,
        user_id,
        message,
        @rn:=IF(user_id=@prevUserId,@rn+1,1) rn,
        @prevUserId:=user_id,
        created
      from message
        join (select @prevUserId:= 0, @rn:= 0) t
      order by user_id, created desc
    ) m on u.id = m.user_id
group by u.id, u.user_name

*

*SQL Fiddle Demo

redpajama_set_name: RedPajamaStackExchange


The Australian Catholic Bishops' Social Justice Statement for 2018–19 is titled A Place to Call Home: Making a home for everyone in our land. It confronts the growing challenge of homelessness and housing insecurity in Australia.
The latest Census figures show that more than 116,000 Australians are homeless – something unacceptable for a rich and well-resourced nation like ours. Yet these people are only the tip of the iceberg: welfare agencies report growing numbers of families and individuals struggling to meet the cost of mortgages or rents and turning to specialist housing services, which are often unable to meet demand.
The Scriptural basis of the Statement is Jesus' parable of the Good Samaritan (Luke 10:30–35), about an outsider who does something that rich and influential men refuse to do: he stops to help a man in desperate need, takes him to safety and pays for his care. The Statement also draws on the example of Pope Francis, who has reached out to men and women on the streets of Rome and reminded us forcefully of the rights of people experiencing homelessness around the world.
The Bishops consider the extent of our housing crisis and Australia's falling rates of home ownership. They focus especially on those in our society who are most vulnerable to housing insecurity and homelessness. We are reminded that safe and secure housing is a human right, asserted both by the Church's social teaching and by the Declaration of Human Rights.
Homelessness is a challenge for all levels of society: for government, for Church and community, and for us as individuals. Each one of us can make a difference and, when we join with others, we can be a real force for change that ensures everyone has a place to call home.


text:
Why Am I Sadder During the Summer, by Lex Chilson
Our Mother's Lambs, by Marina Fec
how to be a human being, by arizona hurn
June 21: Poem for Kearney, by Tyler Michael Jacobs
Coming Out, by Violet Mitchell
SONNET FOR RACIALLY AMBIGUOUS WOMEN, by Maya Salameh
PHONETICS, by Maya Salameh
Malleable, by Adam D. Weeks
Dry Spell, by Maryetta Henry
Would God Have a Beach House?, by Gabraella Wescott
Do I miss myself? by Holley Ziemba
First Flight, by Hannah Baumgardt
If We Are But A Moment, by True Dabill
Interview with Roy Guzman
Interview with John Ostrander (Part 1)
Runestone Student Editor Book Reviews
ARKANSAS by John Brandon
THE VEGETARIAN by Han Kang
THE BONE CLOCKS by David Mitchell
EVIDENCE OF V by Sheila O'Connor
THE COLLECTED SCHIZOPHRENIAS, Esmé Weijun Wang
Runestone, Volume 6
The Vegetarian
Translated by Deborah Smith
Hogarth Press
Reviewed by Hannah Morin
The Vegetarian, Han Kang's award winning novel, has been translated into more than a dozen languages and received critical acclaim across the globe. Published originally in Korea, the novel received an English translation in 2015 by Deborah Smith, after which it deservedly won the Man Booker International Prize. It is a haunting tale that feels almost damaging to the reader, but damaging in a way that we all need.
After terrifying dreams cause Yeong-hye to swear off eating meat and become a strict vegetarian, a twisted chain of events is set into motion that tears apart the family around her. Told from three perspectives — Yeong-hye's husband, brother-in-law, and sister, The Vegetarian is a story of one woman's descent into madness and rebellion, and its effects on the people surrounding her. Some are pushed away, some are drawn into her madness, and some gain from it new clarity regarding themselves and their world. At times violent, at times an exploration of twisted eroticism, and at times an exploration of human beings' connection with nature and one another, Han Kang weaves a complex tale of both blood and beauty.
The novel is broken into three sections, with each focusing on a different character's perspective. Interestingly, the titular character, the vegetarian herself, is not given a section to speak through. Although the story is about her and her relationship with her physical self, it is also about the relationship that others have with her body. As an exploration of gender politics and female autonomy (or lack thereof), this mechanism works geniusly to illuminate the novel's complex themes. Yeong-hye speaks to the reader only in a few short, lyrical flashes of dreams. We receive glimpses of the nightmares that inspire Yeong-hye to give up eating meat. Initially they appear to focus on the act of eating flesh, with Yeong-hye dreaming about "My bloody hands. My bloody mouth. In that barn, what had I done? Pushed that red raw mass into my mouth, felt it squish against my gums, the roof of my mouth, slick with crimson blood" (pg 20). The descriptions are enough to make the reader consider a vegetarian lifestyle, but the dreams grow even more disturbing as the evolve beyond nightmarish concepts of a carnivorous diet. Yeong-hye begins to dream of murder, of her body becoming an unfamiliar traitor, and of a family patriarch brutally killing a dog.
These dream fragments appear only in the first section of the novel. Otherwise, we only know her through the relationships that the characters surrounding Yeong-hye have with her. These characters surrounding her each have a different conceptualization of who. We see her as a wife, as a sexual object, and as a sister, and she carries a different meaning to the different characters that often has little to do with who she truly is as a human being. Although the reader receives tantalizing hints of how Yeong-hye views herself at her core, we never receive true access to her devolving — or, perhaps, evolving — psyche.
The Vegetarian is a novel that is not read so much as it is experienced. It is a true success, effective on an emotional and intellectual level, as well as a visceral, disturbing one. The novel is a page-turner, yet each scene makes the reader want to sit and contemplate what they've just read. Han Kang has crafted a masterpiece out of pain and human disconnection, and The Vegetarian deserves to be read both widely and with care.
HANNAH MORIN
Hannah Morin is a senior at Hamline University studying Psychology and Creative Writing. In her free time, she enjoys reading, writing, and watching horror movies.


text:
« Magical Time Travel to 1920s Speakeasy & 1960s Magic Club with Chicago Magic Lounge amfm: "Can I see Your ID?" Debuts at Cultura May 8 »
Art Wed Apr 22 2015
Archibald Motley's Brilliant, Vivid Paintings Light Up the Cultural Center
Archibald Motley, Blues, 1929.
Archibald Motley Jr. was not your average African-American male in 1914. The man who became a world-renowned artist and contributor to the Harlem Renaissance was the son of a Pullman porter and the daughter of a former slave. But in 1914, he became a painting student at the School of the Art Institute of Chicago and studied there for four years. The rest, as they say, is history.
Motley, known for the paintings that chronicled African-American urban life in the 1920s and '30s, was born in New Orleans and raised in the Englewood community, which was then a predominantly Irish-German-Swedish neighborhood. He socialized in Bronzeville and its vibrant cultural life inspired many of his paintings. He also spent time in Paris in 1929-30 on a Guggenheim Fellowship and in Mexico in the 1950s with his nephew, Willard Motley. (Author of novels including Knock on Any Door and Let No Man Write My Epitaph, Willard Motley was inducted into the Chicago Literary Hall of Fame in 2014.)
Archibald Motley: Jazz Age Modernist is a full-scale exhibit of about 45 of Motley's paintings now on view at the Chicago Cultural Center. Along the corridor leading to the gallery is a display of information about Motley's life and work. Jazz age music plays on the gallery sound system.
Archibald Motley, Hot Rhythm, 1961.
Motley is best known for the vibrant club and city scenes such as Hot Rhythm (1961), Blues (1929, Paris café scene), and Barbecue (1960). You may have seen his painting Nightlife and an early self-portrait at the Art Institute of Chicago. He depicted African-American elites in many of his paintings but he also showed the lives of the new residents from the South who came to Chicago in the Great Migration. His post-Paris painting, The Picnic (1936), is a scene reminiscent of Renoir's 1881 Luncheon of the Boating Party. Motley's Cocktails (1926) shows elegant black women and Tongues (Holy Rollers) (1929) shows worshippers at an African-American church.
He also showed African-American men in social gatherings. Don't miss The Boys in the Back Room (Card Players) (1934), The Liar (1936), and The Plotters (1933).
Early in his career, Motley painted many portraits that illuminated the role of African-Americans in middle-class society. Mulatress With Figurine (right) shows a well-dressed woman with a classic figurine, books and a Chinese incense burner. That 1920 painting was awarded the Frank G. Logan prize in 1925 by the Art Institute. He also painted family members, including his grandmother and his wife, Edith Granzo, whose working-class white family objected to the marriage.
Beginning in the late 1920s, Motley's work was shown in galleries in Chicago, New York and in European exhibits and won many honors over the years. The Art Institute awarded him an honorary doctorate in fine arts in 1980 and he was one of 10 African-American artists honored by President Jimmy Carter at the White House that year. His work also has received many posthumous honors.
Motley, who spent most of his life in Chicago, died here in 1981.
The Motley exhibit originated at the Nasher Museum of Art at Duke University, Durham, NC., and was curated by Richard J. Powell, professor of art and art history at Duke. In addition to its Chicago stay, it is being exhibited at the Amon Carter Museum of American Art in Fort Worth, the Los Angeles County Museum of Art, and the Whitney Museum of American Art in New York.
You can see Archibald Motley: Jazz Age Modernist in the Sidney R. Yates Gallery on the fourth floor of the Cultural Center, 78 E. Washington St. The exhibit runs through August 31. Admission is free; hours are Monday-Thursday 10am to 7pm and Friday-Sunday 10am to 6pm.


Noordwijk Marketing works closely with three photographic agencies.
This outstanding photographer can be found on the beach every day and has a typical, recognisable photographic style. Her site displays lots of beautiful photos of Noordwijk. Photos can also be commissioned.


text:
Il Monte Carlo Masters 1990 è stato un torneo di tennis giocato sulla terra rossa.
È stata l'84ª edizione del Monte Carlo Masters, che fa parte della categoria ATP Super 9 nell'ambito dell'ATP Tour 1990.
Si è giocato al Monte Carlo Country Club di Roquebrune-Cap-Martin in Francia vicino a Monte Carlo,
dal 23 al 29 aprile 1990.

Campioni

Singolare

 Andrej Česnokov ha battuto in finale  Thomas Muster 7–5, 6–3, 6–3

Doppio

 Petr Korda /  Tomáš Šmíd hanno battuto in finale  Andrés Gómez /  Javier Sánchez 6–2, 6–1

Collegamenti esterni

ATP Tour 1990

redpajama_set_name: RedPajamaWikipedia


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NCTR's membership is annual (January 1 - December 31, 2018). The "Active Member" level is at the core of NCTR, with 68 state, territorial, and local pension systems that serve a total of more than 19 million active and retired teachers, non-teaching personnel, and other public employees; and safeguard combined assets of more than $2 trillion in their trust funds. The "Associate Member" level is open to Commercial firms that work with public retirement systems and to non-commercial, public agencies that represent public teachers during their careers or in retirement.
NCTR provides vital support for the retirement security for America's teachers and public service workers by offering its members both educational and networking opportunities throughout the year. In addition, NCTR continues to provide a national forum for the discussion and resolution of public policy issues affecting public pension funds.
You can register now and pay by credit card or request an invoice.
To request an invoice, please register your membership and at "checkout" select "check" via the drop down menu (please note it will automatically default to credit card). Your confirmation will contain a link to your invoice for you to print.


text:
Q: Unable to publish global array variable

let Array = [1, 2, 3, 5, 5]

for (i = 0; i <= Array.length; i++) {
  let j = Math.abs(Array[i] - 1); // [0, 1, 2, 4, 4]
  Array[j] = Math.abs(array(j) *- 1); // [-1, -2, -3, 5, -5]
}
console.log(Array);

Uncaught ReferenceError: array is not defined

Can anyone please explain to me why my array will not console.log. I'm sorry if this is a really rudimentary question. Thank you

A: You cant create Array var since it is a reserved word for constructor Array

A: Because Array is a reserved Javascript word, you need to use an array (lowercase).
Change Array -> array;
And you need to change parentheses to square brackets Array[j] = Math.abs(array(j) *- 1);
to Array[j] = Math.abs(array[j] *- 1);
Solution:
let array = [1, 2, 3, 5, 5]

for (i = 0; i <= array.length; i++) {
  let j = Math.abs(array[i] - 1); // [0, 1, 2, 4, 4]
  array[j] = Math.abs(array[j] *- 1); // [-1, -2, -3, 5, -5]
}
console.log(array);

A: You can't create a variable named Array since it is a reserved word for the constructor Array.


text:
A 100 crore Idea- Stree !
The industry, audiences and critics alike have been raving about Stree, which is inching towards the 100 crore club. For filmmakers Raj and DK, this affirms their conviction that out-of-the-box, smart and entertaining content finds its own wide following too. Little did the duo know that their idea, inspired by a 'ridiculous phenomenon', would become a phenomenon in itself and turn into a blockbuster.
Stree is an unusually funny film, loaded with a mix of scares and small-town innocence with a subtle take on patriarchy and a hilarious gender reversal, which has found tremendous love across the country. Known for their wacky humour and genre-bending films like Go Goa Gone, 99, Shor In The City and now Stree, the writer-director-producers have always stood for their distinct brand of unique humour and edgy filmmaking sensibilities.
Says Raj, "I'm just delighted that our style of storytelling and humour have found a larger audience with Stree."
Raj & DK, who have always written their own scripts, were to direct Stree too. But back then, they were committed to an extensive project, and Stree was too extraordinary to be put on the back burner. They decided to look for a director and, after a few unsuccessful tries, they chose Amar Kaushik. "Amar was a talent waiting to be discovered. He was our First AD on Go Goa Gone and shares the same kind of sensibilities as us, and he understood the horror-comedy genre. We knew he would do justice to this crazy film. And of course he did a fantastic job," says Krishna DK.
For their first film as producers, the duo joined hands with their long-time collaborator, Dinesh Vijan. He immediately saw the potential in this unusual film and decided to come in as a producer. DK says, "Dinoo is the perfect partner we could have had for Stree. We not only share the same wavelength, he also has a great grip on the creative space of the film and marketed it superbly to ensure it was on everyone's minds!"
One of the strongest assets of Stree was the star cast and the duo reiterates that casting was the key. Raj & DK immediately knew that Rajkummar Rao had to be part of the film while writing it – "As soon as we finished working on the script, Raj was the first person we spoke to. He loved the story and immediately agreed to be part of the film." says Raj.
From a terrific ensemble cast featuring Rajkummar Rao, Shraddha Kapoor, Pankaj Tripathy, Aparshakti Khurrana, Abhishek Banerjee and Vijay Raaz, to an outstanding crew including Sachin-Jigar, Sumit Aroraa among others, they say this film is the smoothest ride they have been on.
From writing to producing the film, Raj & DK, couldn't be more excited that this film has set a benchmark for content and audience acceptance. Says Raj, "I love to write in coffee shops and now a days I hear people discussing the film. It's heartening to see how people have embraced the film as their own and the love you feel from everyone is so genuine!"
While there has been talk of a sequel, DK says, "Of course with the success of Stree, there is crazy pressure to outdo the original. We are going to let it all sink in and then try and crack a script that will do justice to Stree."
Force 2 collects Rs 20.05 crore ...
A fan misbehaved with me…
By AVS Newsroom January 5, 2016
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By AVS Newsroom October 29, 2018
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By AVS Newsroom March 22, 2022


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IMSA Retro Liveries At The Rolex 24
Marshall Pruett Podcast Reaches 2 Million Downloads
GALLERY: IndyCar at Portland
GALLERY: Nissan at Laguna Seca
Charity Stickers In Honor Of Dan Gurney
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Will Buxton
Featured, Podcasts
Top 10 Marshall Pruett Podcast Episodes of 2017
Jan 1, 2018, 2:15 PM 0
With 2017 behind us, here's a look at the 10 most popular episodes of the Marshall Pruett Podcast in descending order. My podcast, which got its start in May of 2016, broke 1,000,000 downloads in December–it was an amazing…
Featured, IndyCar, Podcasts, Sports Cars
Pruett Asks Racecar Drivers & Insiders: Who The Hell Are You?
Nov 14, 2017, 5:01 PM 0
MP launches 15-part podcast that leaves IndyCar's Townsend Bell "…exposed, afraid, and vulnerable" San Francisco, Calif. (November 14) "What would it mean to you to win this race?" Every racing driver will tell you that journalists ask the dumbest…
Marshall Pruett
Marshall Pruett started his career in auto racing as a teen in 1986 and spent 20 years as a mechanic, engineer, and team manager in open-wheel and sports cars. Most of his career took place in the CART and IRL IndyCar series, IMSA, World Challenge, Indy Lights, Formula Atlantic, Pro Mazda, FF2000, and other training series. He transitioned to his current role as a writer and reporter in 2006, and covers domestic and international racing for his clients.
Second Wilson Children's Fund Charity Efforts Conclude


80 acres on Bear Lake Rd. The property has a mix of Maple, Oak, Hemlock and balsam on the property. There is a trail going all the way to the back 40 where the land is mostly high. This is a great place to build a cabin and is ready for for the person that wants seclusion with great hunting capabilities. Don't let this great property slip away take a look TODAY!


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Q: Read a file on Linux server through java program running in Windows env I have simple Java program which reads a file and writes it on my console in eclipse tool. I'm
 trying to execute the same java program to read the file on Remote Linux server. Please help how can I achieve it?
import java.io.BufferedReader;
import java.io.FileInputStream;
import java.io.InputStreamReader;

public class Test {
public static void main(String[] args){
    String path = "C:/tmp";
    String file = "java2502201411.txt";
      try
      {
      FileInputStream in = new FileInputStream(path + "/" + file);
      BufferedReader br = new BufferedReader(new InputStreamReader(in));
      String strLine;
      while((strLine = br.readLine())!= null)
      {
       System.out.println(strLine);
      }
      }catch(Exception e){
       System.out.println(e);
      }
   }
}

I'm able to call a file from other windows environment which is in network. for Eg: I'm trying to read a file on my windows network such as usmnp1804 terminal.
String path = "//usmnp1804/C$/tmp". In the similar way I'm trying to read a file on Linux server but it is not working as intended, getting an error such as File not found Exception. I suspect such as my java program is not able to hit Linux server path. Please help.
String path = "/home/jctadm/tmp".
Thanks
Raj

A: Java can't natively open files shared across CIFS.  You have to use a client library.  JCIFS seems to be the de facto standard for this.  Apache Commons Virtual File System also supports this.  Both have tags here on SO: jcifs and apache-commons-vfs.

A: This example might help, this is a basic example to use VFS to retrieve files from a remote system using the SFTP protocol. Files matching a specified regular expression are retrieved.
http://wiki.apache.org/commons/SimpleSftpFileDownload


Britain's Most Historic Towns is a TV show on Australian national television from SBS ONE with an average rating of 3.3 stars by TVCatchUpAustralia.com's visitors. We have 4 episodes of Britain's Most Historic Towns in our archive. The first episode of Britain's Most Historic Towns was broadcast in October, 2018. Did you miss an episode of Britain's Most Historic Towns but don't you wan't that to happen in the future? Please set an alarm and add Britain's Most Historic Towns to your favourites, so we can remind you by email when there's a new episode available to watch. Completely free: handy!
Professor Alice Roberts tells the story of the Regency period by studying the history of Cheltenham, Britain's Most Regency Town. To fully understand the period, Alice attends a period society ball, investigates the rigid social hierarchy of the age and explores the Regency fondness for enemas.
Professor Alice Roberts tells the story of Tudor England by studying the history of Norwich, Britain's Most Tudor Town. In the course of her investigation, Alice learns the harsh reality of religious intolerance, uncovers the origin of Norwich FC's iconic Canary, and is subjected to some humiliating Tudor justice.
Professor Alice Roberts tells the story of Norman England by studying the history of Winchester, Britain's Most Norman Town. To get to grips with the Normans, Alice attempts to storm a castle in chain mail, investigates the origins of modern surgery, and tucks into an appetising eel pie.


Ransomware has become a hot topic in the news recently, until you would almost imagine that the Russians have declared a cyberwar on the West. No such thing has happened. What has happened is that black hat hackers have discovered that medical records in the US, Canada and the UK are insufficiently protected and are taking advantage of this fact. In any and all other industries which deal in PCI or PII proper security is also a concern. This includes banking, brokerages, in fact any company which handles credit card or other financial data, or any other data of a sensitive or private nature.
The ransomware which is currently in the spotlight is of the family which encrypts the files on a desktop, or yes, even on a network, and demands a ransom for decryption of the encrypted files. Ransomware, encryption and the like are actually highly technical topics, but that is the concept in summary. With that basic definition, let's look at how safe you are from ransomware and what you can do if you should become infected.
First, let's look at Alice. Alice is careful, she follows best security practices, and never opens suspicious email attachments or clicks on links in emails. Bob is not so careful. Bob receives and opens an email attachment he should not have opened and infects his machine. Since Bob is a colleague of Alice, when Alice receives an email attachment or link from Bob's infected email, no matter how careful Alice is, she gets infected as well. Not opening a suspicious attachment or clicking suspicious links is a good beginning, but it is not enough.
Since it is not sufficient to avoid suspicious email attachments or links, what responses can you take to respond to ransomware once it has infected your computer? There are a lot of news items on the topic, but they boil down to three responses: pay the ransom, restore your backed up files, have IT look for a workaround. Since the last option is the easiest and the cheapest, it is the option most users will choose first. Let's look at the possibility of success by IT for recovering from ransomware without paying a ransom.
IT has no chance at all of recovering your encrypted files if the ransomware used encryption properly. Encryption is what keeps your online purchases secure and banking information private. There have been a relatively few stories of ransomware being reversed by security researchers, but let's be clear: they did not 'crack' the encryption. These security researchers discovered that a small portion of the ransomware out there 'in the wild' was poorly written, which allowed researchers to discover the decryption process without paying the ransom. In effect, these researchers hacked the hackers. However, this is not usually the case. It is very rare that this free option is available for most ransomware infections.
Backing up your files on a regular basis is always a best practice. Anyone who has ever lost files on a computer which crashed can attest to the need for backing up critical files, but as with a system crash, backups must happen before you are infected with ransomware, not after. With a proper backup process in place, ransomware will be inconvenient but relatively inexpensive to recover from.
Paying the ransom is morally uncomfortable, and will most likely still require the expertise of experienced IT people to navigate the world of bitcoin or other obscure payment methods which criminals use. Strangely enough, criminals who send ransomware appear to keep their word and quickly send the promised decryption key which will restore your files. These criminals know that if they do not, soon no victim will ever pay a ransom again.
In the end, backing up your files before the fact will give you the most options. Once your files are encrypted by ransomware, your options are limited, which is, of course, exactly what the criminals want.
Virtualization can reduce the severity of a ransomware attack, but is no substitute for best practices. A virtual machine can be restored in the event that one copy is compromised, but this approach is a second best solution. The best solution is to avoid ransomware in the first place.
For more information on ransomware, avoiding it, and recovering from it, please contact us.


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Supreme Court Denies Cert (GE v. Belton): A Bankruptcy Code v. Arbitration Act Reprieve — And Constitution's Bankruptcy Exception
Uniformity (photo by Marilyn Swanson)
We've dodged the bullet . . . again!
Yesterday, the U.S. Supreme Court denied certiorari in GE Capital Retail Bank v. Belton (Case No. 20-481), where the question presented is:
Which federal statutory scheme takes precedence in resolving important bankruptcy issues — the Bankruptcy Code or the Federal Arbitration Act?
In proceedings below, both the Bankruptcy Court and the District Court denied arbitration of a discharge enforcement dispute. The Second Circuit Court of Appeals affirmed, declaring: "though the text and history of the Bankruptcy Code are ambiguous as to whether Congress intended to displace the Federal Arbitration Act in this [bankruptcy] context, . . . the two statutes are in inherent conflict on this issue."
The Bankruptcy Code and the Federal Arbitration Act are in conflict because the two statutory schemes have opposing purposes: the Bankruptcy Code is designed to centralize disputes into a single court, while the Arbitration Act is designed to disperse disputes to arbitrators.
The conflict is sharpened because, (i) many bankruptcy courts and their appellate overseers are loath to send important bankruptcy issues to arbitration, while (ii) the Supreme Court is loath to find Arbitration Act exceptions.
Problem — No Statutory Standard
Unfortunately, as the Second Circuit suggests, there is no clear statutory guidance for resolving the conflict between these two statutory schemes. Such lack of guidance makes the Bankruptcy Code vs. Federal Arbitration Act conflict perilous for the bankruptcy system — the Supreme Court's reluctance to find Arbitration Act exceptions might prevail.
Solution — A Constitutional Standard
Fortunately, however, the Bankruptcy Code is nearly unique among all federal laws, because the U.S. Constitution demands "uniform Laws on the subject of Bankruptcies throughout the United States" (emphasis added).
Accordingly, a bankruptcy exception to the Federal Arbitration Act rests on this constitutional basis:
rulings on important bankruptcy issues must be subject to meaningful appellate review—all the way to the U.S. Supreme Court—to assure uniformity; and
standards for reviewing and overturning an arbitration ruling are a rubber-stamp standard and cannot satisfy the Constitution's "uniform Laws" demand.
Nelson v. Carland
I'm not making this constitutional standard up. Explaining the uniformity requirement in an appellate review context is Justice John Catron, in the U.S. Supreme Court case of Nelson v. Carland, 42 U.S. 265 (1843).
The question before the U.S. Supreme Court, in Nelson v. Carland, is this: "[W]hether the act of 1841, establishing a uniform system of bankruptcy, was constitutional, or otherwise" (id., at 266).
Justice Catron issues an independent opinion. His concern is that appeal rights are severely limited under the Bankruptcy Act of 1841, which means the Constitution's uniformity requirement cannot be satisfied.
Here are specific uniformity concerns, expressed by Justice Catron, about the Bankruptcy Act of 1841:
The act is administered by more than thirty judges, acting separately;
A debtor may not appeal to the circuit court (save in the single case of a refusal to finally discharge the bankrupt from his debts), and no debtor appeal is allowed to the Supreme Court;
A creditor may not appeal anything in any bankruptcy case, either from the district court to the circuit court or to the Supreme Court; and
It follows that the Supreme Court has no power to make uniform the conflicting constructions of the bankruptcy law.
Here are Justice Catron's elaborations on uniformity concerns:
Many discharges are involved in this appeal—some twelve hundred discharge requests will be dismissed unless the decrees are reversed;
"No law that Congress ever passed has in it to a greater degree the elements of various construction and confusion than the bankrupt law of 1841"—thirty judges act separately, and all are exempt from the revising power of the Supreme Court, which exists to produce "uniformity of decision and construction";
Unless the Supreme Court has jurisdiction over bankruptcy disputes, it will have no revising power over bankruptcy laws; and
Instead of providing a uniform system of bankruptcy, the 1841 bankruptcy act has become, by the conflicting constructions put upon it, little more uniform than the conflicting state insolvent laws.
Justice Catron's Reasoning Applied
Justice Catron's reasoning provides a constitutional basis for creating an exception to the Federal Arbitration Act for important bankruptcy disputes. Here's how the reasoning goes:
The appellate standard of review for an award under the Federal Arbitration Act is a rubber-stamp—reversal requires a showing of misconduct by the arbitrator, such as fraud or corruption (it's not enough to show that the arbitrator applied the wrong law or applied the correct law wrongly); and
Under such a standard, the uniform application of bankruptcy laws throughout the United States cannot be assured—just as Justice Catron explained in 1843.
Now that the Supreme Court has denied certiorari in GE v. Belton, opportunities exists for further development of a bankruptcy exception to the Federal Arbitration Act.
Hopefully, Justice Catron's constitutional "uniformity" analysis will find its way into the further development of the bankruptcy exception.
Arbitration, Bankruptcy, U.S. Supreme Court
Debtors Sign Federal Tax Returns Digitally; Why Not Petitions and Schedules?
What Qualifies As "Engaged In Business Or Commercial Activities" For Subchapter V Eligibility? (In re U Stop)


Matt Waite is a professor at the College of Journalism and Mass Communications, University of Nebraska, teaching drone reporting and digital product development. Before, Matt worked as a reporter at St. Petersburg Times. He also created and developed PolitiFact, a fact-checking project that was the first website to win the Pulitzer Prize. While working at the University of Nebraska, Matt produced an operations manual on drone journalism.
How has drone journalism changed over the years?
When we started this we had to explain to people what a drone even is—people still thought they were military weapons! The only place we could actually fly without concern were countries that did not have civil aviation rules about drones. The situation in US was so unclear then that people got in trouble all the time, including us. (We once got a cease and desist from the Federal Aviation Administration, which was terrifying at the time but now we're proud of.) Now the use of drones for journalism, reporting, and photography is regulated and allowed in most places around the world, although it's not necessarily welcomed.
The first drone was Parrot AR drone. It weighed only a couple of kilograms, was mostly made of light styrofoam, and was controlled by your iPhone, so it had very short range. The camera wasn't stabilized so the video was really jerky and unstable. We got it because that was one we could afford right away. Later, when we got a grant, we upgraded to a kit from a company called jDrones. It had greater capabilities, like the modern drones that you see now, but it was ugly as it could be.
Looking back at it now both of these were unbelievably inferior to the drones that we have today. The little trainer that I have here on my desk is the size of my hand and is 100 times better—and it only costs $100.
How did you get interested in drones?
It was a complete accident. I was at digital mapping conference in San Diego browsing the vendors and I walked by Belgian company Gatewing that was selling what they were calling "fully autonomous aerial mapping platforms." It was like a remote control airplane that was connected to a tablet computer. The tablet had a geographic connection system on it, and it would allow you to draw a rectangle around a field. You'd tell drone where to take off and where to land and it would fly all over taking overlapping photos. Those would then be stitched together into a really high resolution composite image of the ground.
Previously, I had spent 10 years as a reporter in Florida covering hurricanes, and I always had to figure out how to describe massive damage to people in ways that they would understand. I immediately saw that this drone could help tell all kinds of stories with data mapping. I ran over the the guy and I told him I wanted one. They were $65,000 each and completely illegal in the United States because there's no pilot.
It's funny that in 2011 that was completely mind blowing, and now there's literally an iOS app that plugs into your drone that will do exactly the same thing.
Can you tell us about what you're teaching in your classes?
I don't just teach drone classes, I try to incorporate all sorts of experimental video storytelling, including things like drones and 360-degree cameras to help people tell stories in new ways.
Over the last year I have started teaching professional training courses to journalists that want to become federally certified to fly drones here in the US. We started the first one here in Lincoln, and now are on the road doing four more this year. By the time we are done we should have somewhere in the neighborhood of 200 new people trained for drone journalism. That means they'll also understand the ethical landscape, the legal landscape, and privacy issues that might be affected.
The next thing I'm interested in working on is better use of drones in data and investigative journalism, and in 360-degree video and virtual reality storytelling.
Imagine if we could take an image of a city block in Aleppo and people could put on VR goggles and actually walk that city block. Then we could annotate it with information about who lives here, how this place looked before the war, how it looks now. I think the ability to see and understand place and size and scale and context in virtual reality would be extremely powerful for storytellers. And it doesn't have to be something as dramatic as war, it could be something as simple as statue, or a heritage site, or a building. A drone makes this simple to do.
What are the some of the best examples of drone journalism today?
In the last six months to a year we've seen an explosion of outlets using drones.
BBC had the first internal drone unit of any news organization in the world. One of the most moving and impactful things I've seen them do was for the anniversary of the liberation of Auschwitz. They took a drone there and did a basic video that showed you what it looks like today. It was interesting to see the scope and scale of the place. I've seen thousands of photos of concentrations camps, but I have never really understood how truly massive they were until I saw the BBC drone video.
A lot of drone video emerged from CNN in the US, and now they have an internal drone unit. The first thing they did was for the anniversary of the civil rights march across the bridge in Selma, Alabama. It was nothing more than a video flying over the bridge, but it was perspective of the bridge that you'd never seen before. You could describe a lot of good drone video as a perspective you've never seen before.
What are the common mistakes people make with drones?
The biggest mistake is flying over people. These drones do not have redundant backup systems, so if something goes wrong, the drone will fall out of the sky in an uncontrolled fashion. The most common drones people are using now are anywhere from 3 to 6 pounds, big enough that if they fall from high enough they could seriously injure somebody, if not kill them.
These devices are so easily obtainable and inexpensive that a lot of people have not done the due diligence of learning the right way to fly them or learning the rules of the country they live in. And in almost every country on the planet you are not allowed to fly over people.
You see a drone videos all over the Internet—drones over large, densely-packed crowds, over large protests, over concerts, over sporting events—where if something were to happen to that drone and it were to go down, people would be hurt pretty significantly. I do not think it's ethical for a journalist to be doing that. I don't want news organizations to be encouraging flight over people. It's dangerous and it's going to get drones banned if something terrible happens.
What's your opinion about the police ban of drones in Ferguson during the Black Lives Matter protest?
The police in Ferguson got what's called a temporary flight restriction put in place. It was not for drones, it was for TV news helicopters, and they did it specifically to keep the media out—they didn't want cameras on them while they did what they did. That's a clear violation of the First Amendment and should not have been allowed to happen, but it did.
But there were still people that were bringing drones and using them. To me, that presents a bit of an ethical bind. If you have a government that is acting in bad faith, that is suppressing press freedom illegally and you know it, there's an argument to be made that you should act against the rules and put your drone in the air anyways. I think it's important to have that discussion in your newsroom and decide what's important. Is there a legal way to push against the ban in the first place? If not, is there a moral argument to violating the ban?
Another example was at the Dakota Access Pipeline protest in North Dakota. There were a lot of activists calling themselves journalists who were doing really dangerous things with drones, like flying them at the police to antagonize them. Then they were screaming and crying when the police pulled out guns and shot the drones out of the sky. No one looked good in that case.
But, just like we have cell phone video on the ground of news events as they occur, we'll have more and more drone videos of events as they occur. I think it's just another check on police power. Another way to watch the watchman, as the old saying goes.
How much are publications investing in drone journalism? How can they measure the ROI of that?
Most newsrooms want a drone in the building, and there's a good economic argument for it. You can get a really good drone with a really good camera for about $1,500— which is not that much money, especially compared to a manned helicopters that can go for about $1,800 an hour. So one hour in a manned helicopter costs more than buying a drone outright. And your second drone flight is essentially free, just the cost of the power of the batteries.
How do you measure success? You have to remember that a drone is a tool like any other. When the subject matter you are dealing with is large scale and you need the context and you want to show what the place looks like and you have a story to tell there, that's the tool you need. So I would say you should measure success by how many people watch your video. You could try to mark in some way if a video has drone video in it to see how it performs against video that's all on the ground.
How do you imagine this field in 5-10 years? What things do you find most exciting in the field of technology and storytelling?
For the next year or so, you'll see newsrooms using drones to photograph every single story. The old saying is, "they have a new hammer and suddenly everything's a nail." But after that I think we'll get into much more creative uses of them.
I'm really excited about the idea of using drones to create a virtual environments. Virtual reality is not easy or cheap to create right now, but if we use drones to create photo-realistic models of places and plot those models into virtual reality, that might speed things up pretty dramatically. I think we will see more virtual reality storytelling from publications like The Guardian and The New York Times—there's already amazing stuff going on and I think you're gonna see a lot more amazing stuff in the next 5 years.
In the same period of time, a lot of countries have got to really figure out their laws related to drones. And those laws include property rights and privacy rights. It's hard balancing press rights versus personal privacy and property rights, figuring out how to allow people a private life while also unlocking the potential of these devices.
Do you have any advice or suggestion for people who are just starting in this field?
I think rule number one is learning the laws in your country. Some of these rules are very serious and can involve jail time or hefty fines.
Second, you need to think of what stories drones would be best at telling. For example, think about stories about climate change or extreme weather. When a hurricane goes through a place, the photographs from the ground start to look the same. Everything is really messed up, and there's someone standing in the middle of the rubble. You don't have a good perspective on how widespread the destruction is. And you can't put it into words. But a drone can give you a level of understanding that ground-based photography really struggles with.
So if you want to use a drone because it will add more context, scale, and perspective to a story, ultimately helping people better understand it, then you're on the right track. If you just want to make a drone video because drones are cool, that's totally valid because they are cool, but I don't know if that's a good enough journalistic reason to use them.


text:
Q: Making endpoint data buffers DMA able I am currently working on a custom hardware which has SH_MOBILE architecture. Hardware comes with USB(peripheral) and a DMAC having 2 channels.
I am using R8a66597 UDC driver which is available in mainline kernel. I have added DMA related functions to the peripheral controller driver. Currently I am able to get the DMA working in TX path. But in RX path I am not able to use DMA, instead PIO is getting used. This is because the buffer address (buf in struct usb_request) is not 8 bit aligned.
I would want to know how to ensure that these data transfer buffer is DMA able?
Thanks in advance,
Srinidhi KV


Pioneer ND-DVR100 - Watch playback of your HD video in the built-in 2" monitor.
Pioneer packs everything you need into their ND-DVR100 dash cam. The camera will start loop-recording in 1080p at 27.5 frames per second once the engine is turned on, and it'll go into sleep mode when the engine is turned off. Use the cam's adhesive-backed mount to secure the ND-DVR100 to your windshield, and Pioneer gives you a vehicle charger for power. You're good to go!
If you're involved in an accident, the built-in G-Sensor will detect the collision, then save the critical footage. Pioneer chose the 27.5 fps frame rate to accurately capture LED traffic lights, giving you the best presentation possible if you're in an accident that involves a traffic signal. Built-in GPS geo-tags your files with latitude, longitude, date, time, speed, and direction of travel, and Wide Dynamic Range image processing gives you clearer video when you're driving at night.
Pioneer has your back even when you're parked. Depending on your settings, a built-in motion sensor wakes the camera when your vehicle is disturbed to record what's in front of it. If someone hits your parked car and runs, and they're within view, you'll have something to show for it.
This dash cam records video files up to 1080p in a continuous loop, using the included 8 GB microSD card. The included card will give you hours of video at 1080p, but to increase storage, you can add a larger microSD™ card.
Warning: The use of this device and/or a windshield mount may be restricted in some states or jurisdictions.
When your car is turned off and the Pioneer dashcam is in park mode do you need to hardwire the device?
No. Parking mode operates for a maximum of approximately 50 minutes after the power supplied to the camera is stopped (the engine is turned off or the cigarette power cable is unplugged).
Dash Camera: The Pioneer ND-DVR100 dash camera a useful driving tool that can monitor driver performance, display speed, direction, and more. The Pioneer ND-DVR100 dash camera offers to operation modes.
Driving Mode: When the vehicle is moving, the camera captures seamless and continuous recording of video clip files, with three available sensitivity settings for impact detection. When triggered, the camera stores the video clip in an "Event" folder so that it is not overwritten and is available for later access.
Parking Mode: When the vehicle is parked, the camera initiates standby mode. Recording automatically begins during this mode if the G-sensor detects an impact or motion is detected in front of the camera. 20 seconds of video is recorded after the detected event. Parking mode operates for a maximum of approximately 50 minutes after the power supplied to the camera is stopped (the engine is turned off or the cigarette power cable is unplugged).
CMOS Image Sensor with Wide Aperture Lens: The Pioneer ND-DVR100 dash camera utilizes a CMOS image sensor with 2.07 million pixels for recording Full HD (1920x1080) video and features a wide aperture lens to provide high quality recordings of video and still photos in daylight and low light. Recording angles include 95° horizontal, 52° vertical, and 111° diagonal. You can set the WDR (Wide Dynamic Range) and EV (Exposure Value).
WDR: WDR (Wide Dynamic Range) automatically adjusts the image in situations where there is a large difference between light and dark. This feature can be turned On or Off.
EV: EV (Exposure Value) sets the exposure level for adjusting image brightness. The EV level can be set to -1, 0 or +1.
Recording: The Pioneer ND-DVR100 dash camera is able to record video and capture still images.
Video Recording: The dashboard camera records 1080p HD video at 27.5 fps (frames per second) in MP4 (H.264) format. The 27.5 fps frame rate was specifically chosen to accurately capture LED traffic lights, which often operate at 60Hz- especially helpful in the case of a traffic signal related video. Recorded video clip length can be set to 20 seconds, 1 minute, or 3 minutes.
Photo Capture: In addition to recording HD video, the ND-DVR100 has the capability to capture JPEG still images so that in the event of an accident, the driver can detach the camera and take detailed photos from outside the vehicle.
Auto Recording: The ND-DVR100 automatically begins recording when powered on, seamlessly capturing video clip files in a continuous loop on the included 8GB microSD card. The camera will automatically delete the oldest video files to make room for the most recent video clips (first recorded, first deleted), enabling the camera to continue recording even when the memory card is full. You can also choose to manually record an event.
G-Sensor (Event Recording): If the built-in G-sensor of the ND-DVR100 detects an impact incident (such as a collision while in motion or a bump while parked), that video file is locked and stored in an "Event" folder to prevent being overwritten and to provide later access to the video. The G-Sensors sensitivity can be set to Low, Medium, or High.
microSD Card Slot: MP4 (H.264) video files and JPEG still image files are recorded on a microSD or microSDHC memory card (up to 32GB). A 8GB microSD memory card with an SD-card adapter is included. The storage on the microSD memory card will be split into four areas according to the type of recording - Continuous Video, Event Video File, Parking Mode Video, and Photo File.
Video Playback: Videos clips can be viewed directly on the camera's 2.0" LCD screen for when the driver is safely parked. You can also remove the microSD card and insert it into a USB card-reader for playback on a computer or laptop.
Built-in GPS: Using its built-in GPS receiver, the ND-DVR100 can also display and record the time and GPS position (longitude and latitude) directly onto the recorded video and still image files. You can also have the travel speed stamped on a video file.
2" LCD + Push Button Control: The Pioneer ND-DVR100 dash camera features a 2" LCD screen for live video playback and playback of your recorded video and photos. Push-button controls provide Power, Menu, and Record operations.
Built-in Mic & Speaker: The ND-DVR100 is equipped with an integrated microphone for recording audio inside the car and built-in speaker for playback of recorded audio.
Mounting Options: The compact ND-DVR100 is designed for unobtrusive mounting behind or next to the rearview mirror. This design integrates cleanly into the vehicle interior, preserves the driver's view of the road, and places the camera as high as possible to maximize the camera's recording field of view. It features an adjustable tilt camera lens to accommodate various windshield angles and mounting positions. The self-adhesive bracket sticks to your windshield, while the camera snaps onto the bracket. The camera can easily attaches and detaches from the bracket.
Note: Do not install this product in your vehicle if its location or use would obstruct the driver's clear view of the road or the operation of any vehicle airbag. It is also the driver's responsibility to know and comply with the laws, rules, and regulations of the driving location, including, for example, passenger privacy rights, and not to use the device in any location where its installation or use is prohibited.
Power Requirements: The ND-DVR100 dash camera is powered by a rechargeable lithium-ion battery (500mAh) which is charged by the included cigarette lighter power adapter. The cigarette lighter power adapter plugs into your vehicle's cigarette lighter or 12V power port and features an attached 11.5' cable which plugs into the camera's microUSB port.
Is this made with high-temp caps? As it is glued to the window it wil lhave to sustain really high temps in the Texas summer months since it cant be easily removed.
The Pioneer has a rated operating temperature of between -50 °F to +140 °F.
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text:
Alfred Bekker (* 27. September 1964 in Borghorst) ist ein deutscher Schriftsteller und derzeit vor allem als Verfasser von Fantasyromanen, Kriminalromanen und Jugendbüchern tätig. Bis 2008 war er einer der Hauptautoren der Heftromanserie Sternenfaust.

Werk
Bekker veröffentlichte bislang mehr als 350 Romane und etwa 1000 Kurzgeschichten in sämtlichen Genres der Unterhaltungsliteratur, die häufig in mehrfacher Auflage und teilweise als Übersetzungen auch im europäischen Ausland erscheinen.

Er etablierte sich erfolgreich als Autor von Fantasy-Romanen unter Titeln wie Das Reich der Elben, Die Könige der Elben und Der Krieg der Elben; Gorian-Das Vermächtnis der Klingen, Gorian-Die Hüter der Magie und Gorian-Im Reich des Winters sowie im Kinder- und Jugendbuchbereich, wo er sich vor allem historischer und phantastischer Stoffe annahm. In diesem Bereich etablierte er Buchserien wie Da Vincis Fälle, Tatort Mittelalter, Das Fußball-Internat oder Ragnar der Wikinger und schrieb Einzeltitel wie Überfall auf das Drachenschiff.

Ursprünglich kam er als Leser aus den Bereichen Science Fiction und Fantasy, war aber auf Grund der Marktlage zunächst in anderen Genres wie Western, Krimi und Horror erfolgreich. Durch seine Beteiligung an den Science-Fiction-Serien Sternenfaust, Ren Dhark, Bad Earth, Titan Sternenabenteuer und SYNDIC (gemeinsam mit Perry-Rhodan-Autor Conrad Shepherd) war jedoch die Science Fiction für einige Jahre zur stärksten Einzelsparte in Bekkers Schaffen geworden.

Ein Fantasy-Roman zum Rollenspiel Midgard erschien unter dem Titel Das Tor nach Ta-Meket, nachdem er zuvor Andrala – Die Nebenstadt, Die Suche nach Dhum und Axtkrieger – Der Wanderer bereits Fantasy-Romane veröffentlicht hatte. Er war Autor der Gruselserie Jessica Bannister und seit etwa acht Jahren schreibt er Jerry-Cotton-Heftromane und -Taschenbücher, daneben aber auch immer wieder serienunabhängige Kriminalromane und Thriller. Im Verlag Carl Ueberreuter erschienen die ersten drei Bände der von Bekker konzipierten und geschriebenen Krimi-Serie Tatort Mittelalter.

Des Weiteren entwickelte er die Geschichte für ein Krimispiel, einer Unterart der Live-Rollenspiele.

Pseudonyme
Neben den Arbeiten unter seinem eigenen Namen veröffentlicht Bekker viele Werke unter Pseudonymen. Dabei nutzt er vor allem die folgenden Namen:
 Dave Branford
 Brian Carisi
 Neal Chadwick (für die Serie Kommissar X und einen Taschenbuchroman zur RTL-Krimiserie Quincy, außerdem Western-Heftromane bei Bastei und Kelter)
 Jerry Cotton (als Verlagspseudonym für die gleichnamige Heftromanserie)
 John Devlin (Gruselromane für Jugendliche)
 Janet Farell (Verlagspseudonym für die Serie Jessica Bannister)
 Sidney Gardner (die Patricia-Vanhelsing-Romane bei Kelter und Hörbücher)
 Leslie Garber (Frauen-Gruselromane in den Kelter-Serien Irrlicht, Mitternacht und Gaslicht)
 Robert Gruber (Bergromane)
 Chris Heller
 Jack Raymond (Western-Heftromane bei Bastei und Kelter)
 Henry Rohmer (Western-Heftromane bei Bastei und Kelter, Fantasy-Heftromane bei König)
 Ashley Parker (für einen historischen Piratenroman in Zusammenarbeit mit W. A. Hary)
 Conny Walden

Werke

Elben-Trilogie
 Alfred Bekker: Das Reich der Elben. Egmont LYX, Köln 2007, ISBN 3-8025-8127-X.
 Alfred Bekker: Die Könige der Elben. Egmont LYX, Köln 2007, ISBN 3-8025-8128-8.
 Alfred Bekker: Der Krieg der Elben. Egmont LYX, Köln 2008, ISBN 3-8025-8142-3.

Gorian-Reihe
 Alfred Bekker: Das Vermächtnis der Klingen. Blanvalet, München 2010, ISBN 978-3-442-26763-7.
 Alfred Bekker: Die Hüter der Magie. Blanvalet, München 2011, ISBN 978-3-442-26764-4.
 Alfred Bekker: Im Reich des Winters Blanvalet, München 2011, ISBN 978-3-442-26765-1.

Zwergenkinder
 Alfred Bekker: Die Magie der Zwerge. Schneider-Buch Egmont, Köln 2012, ISBN 978-3-505-12897-4.
 Alfred Bekker: Die Zauberaxt der Zwerge. Schneider-Buch Egmont, Köln 2012, ISBN 978-3-505-12898-1.
 Alfred Bekker: Die Dracheninsel der Zwerge. Schneider-Buch Egmont, Köln 2012, ISBN 978-3-505-12899-8.
 Alfred Bekker: Der Kristall der Zwerge. Schneider-Buch Egmont, Köln 2013, ISBN 978-3-505-13081-6

Die Drachenerde-Saga
 Alfred Bekker: Drachenfluch. Lyx, 2008, ISBN 978-3-8025-8163-2.
 Alfred Bekker: Drachenring. Lyx, 2009, ISBN 978-3-8025-8164-9.
 Alfred Bekker: Drachenthron. Lyx, 2009, ISBN 978-3-8025-8165-6.

Da Vincis Fälle
 Alfred Bekker: Leonardo und das Geheimnis der Villa Medici. Arena, 2008, ISBN 978-3-401-50008-9.
 Alfred Bekker: Leonardo und die Verschwörer von Florenz. Arena, 2008, ISBN 978-3-401-50009-6.
 Alfred Bekker: Leonardo und das Rätsel des Alchimisten. Arena, 2008, ISBN 978-3-401-50010-2.
 Alfred Bekker: Leonardo und das Verlies der schwarzen Reiter. Arena, 2008, ISBN 978-3-401-50011-9.
 Alfred Bekker: Leonardo und der Fluch des schwarzen Todes. Arena, 2009, ISBN 978-3-401-50012-6.
 Alfred Bekker: Leonardo und die Bruderschaft des heiligen Schwerts. Arena, 2009, ISBN 978-3-401-50013-3.

Elbenkinder
 Das Juwel der Elben, 2009, ISBN 3-505-12555-5
 Das Schwert der Elben, 2009, ISBN 3-505-12556-3
 Der Zauber der Elben, 2009, ISBN 3-505-12557-1
 Die Flammenspeere der Elben, 2010, ISBN 3-505-12558-X
 Im Zentaurenwald der Elben, 2010, ISBN 3-505-12559-8
 Die Geister der Elben, 2011, ISBN 3-505-12560-1
 Die Eisdämonen der Elben, 2011, ISBN 3-505-12561-X

Die wilden Orks
 Angriff der Orks, 2011, ISBN 3-8000-5607-0
 Der Fluch des Zwergengolds, 2011, ISBN 3-8000-5608-9
 Die Drachen-Attacke, 2011, ISBN 3-8000-5644-5
 Sturm auf das Elbenreich, 2012 ISBN 3-8000-5672-0
 Überfall der Trolle, 2012 ISBN 3-8000-5692-5

Kommissar Steen
 Die Tote im Tief. Klarant, Bremen 2018, ISBN 978-3-955-73749-8
 Der Tote am Delft. Klarant, Bremen 2018, ISBN 978-3-955-73824-2
 Der Tote von der Knock. Klarant, Bremen 2019, ISBN 978-3-955-73902-7
 Die Tote am Borkumkai. Klarant, Bremen 2019, ISBN 978-3-965-86019-3
 Der Tote vom Großen Meer. Klarant, Bremen 2020, ISBN 978-3-965-86122-0
 Der Tote von Twixlum. Klarant, Bremen 2020, ISBN 978-3-965-86178-7
 Die Tote mit dem Buddelschiff. Klarant, Bremen 2020, ISBN 978-3-965-86239-5
 Der Tote im Torfschiff. Klarant, Bremen 2021, ISBN 978-3-965-86312-5
 Der Tote im Ferienhaus. Klarant, Bremen 2021, ISBN 978-3-965-86334-7
 Der Tote auf dem Katamaran. Klarant, Bremen 2021, ISBN 978-3-965-86401-6
 Die Tote in Ostfriesland. Klarant, Bremen 2021, ISBN 978-3-965-86457-3
 Der Tote mit der Teetasse. Klarant, Bremen 2022, ISBN 978-3-965-86535-8

Die Inselermittler / Kommissar Manno Lewert
 Norderneyer Mörderjagd. Klarant, Bremen 2021, ISBN 978-3-965-86475-7
 Norderneyer Dünengrab. Klarant, Bremen 2022, ISBN 978-3-965-86437-5

Einzelne Werke (Auszug)
 AVALON – Space Fighter, BVK Buch Verlag Kempen, ISBN 978-3-86740-217-0
 Gefährten der Magie, BVK Buch Verlag Kempen, ISBN 978-3-86740-218-7
 Mystic High School – die Zeit der Werwölfe, BVK Buch Verlag Kempen, ISBN 978-3-86740-219-4
 Das Buch Edro, 2002, ISBN 3-935706-04-9
 Axtkrieger – Der Namenlose, 2002, ISBN 3-931164-38-1
 Der Seher von Yys, 2003, ISBN 3-936229-12-0
 Mega Killer – Rache aus dem Cyber-Space, 2003, ISBN 3-936229-13-9
 Strahlenhölle Messias, 2004, ISBN 3-936229-85-6
 Herrschaft der Alten, 2011, ISBN 3-935265-89-1
 mit Tomos Forrest und Marten Munsonius: Jalite, die Ranenhexe, 2022, Edition Corsar, ISBN 978-3-7565-2280-4

Nicht aufgeführt sind die zahlreichen Heftromane.

Weblinks
 Offizielle Seite

 Interview auf literatopia.de, März 2009
 Alfred Bekker auf Phantastikcouch
 BVK Buch Verlag Kempen

Quellen
 http://www.alfredbekker.de
 http://www.buchverlagkempen.de/wirueberuns/bvkautoren/17-bekker-alfred

Autor
Literatur (20. Jahrhundert)
Literatur (21. Jahrhundert)
Literatur (Deutsch)
Literatur (Deutschland)
Fantasyliteratur
Science-Fiction-Literatur
Westernliteratur
Kriminalliteratur
Kinder- und Jugendliteratur
Roman, Epik
Kurzgeschichte
Erzählung
Essay
Deutscher
Geboren 1964
Mann


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text:
← Night of the Un-Dead Subway
Group to try for election to scrap bilingual schooling →
Gap in bilingual education
Officials have trouble gauging how students are doing
By Kevin Barrett • Chicago Daily Herald • November 17, 1998 • 600 Words
When the school board in West Chicago Elementary District 33 recently began reviewing its bilingual education program, members wanted to see the numbers.
How, they asked, were students performing on standardized tests? After a display of dozens of charts and graphs, what they got for an answer was anything but a clear picture.
While standardized testing – as maligned as it often is – generally offers some sort of baseline by which to measure progress of English-proficient students, the case is not so clear, officials found out, for the other 26 percent in the district who are still learning the language.
With a push to move students out of the program as soon as possible and state practices that restrict some bilingual testing, trying to gauge student progress through testing has been a difficult task at best, administrators say.
No one knows that better than Karen Mulattieri, a former English as a Second Language teacher who now is coordinator of the district's bilingual education program.
What she has found in assessing bilingual education is a gap.
And the worst part of it is that the gap comes at a critical time when students are emerging from their first language and beginning to take hold of their new one, according to Mulattieri.
Two years ago, the state began assessing students with emerging English ability through a test called the Illinois Measure of Annual Growth in English, or IMAGE for short.
IMAGE has gained good marks from bilingual educators, but has, at least in its early stages, been found wanting in West Chicago.
Students can take the test for up to three years while they are exempt from state-mandated standardized tests in English.
Part of the problem, local administrators found, has been getting the test to those who are eligible. With more than 900 students involved in bilingual education, Mulattieri could locate only 22 who had previously taken the test, leaving the district with a tiny sample to measure progress.
"People are always saying we don't believe you're teaching enough English," said Mulattieri. "This test is a reading and writing English test. It would really give a clear picture that our program is working."
The other problem is that the test, as it is now offered, cannot be given to first- and second-graders, meaning some third-graders may take the IMAGE only once before using up their three-year exemption from English standardized tests, Mulattieri said.
Javier Botana, an administrator with the state board of education, said many of the difficulties with data should iron themselves out as the test becomes more established.
Other gaps, such as the lack of IMAGE testing for first- and second-graders or for those who surpass the three-year limit, are being addressed, too, he said. Eventually schools should be able to administer tests to those students in those categories if they choose to do so, he said.


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text:
Q: Clusters of variables interpretation I am doing clustering of variables using hclustvar() function from ClustOfVar package in R. The example given in R for the decathlon data is:
data(decathlon)

tree <- hclustvar(X.quanti=decathlon[,1:10], init=NULL)

plot(tree)

The function does the PCA and then analyze projections of variables on main components to detect those variables that have similar coordinates. However I still don't know how to interprete the Y-axis on the plot which is called Height. Could anybody help me with the interpretation?
Thanks!

A: As stated on the package documentation – p.9, hclustvar() provides ascendant hierarchical clustering of a set of variables. In order to do this hierarchical clustering, it should compute a distance metric between variables and clusters. In the case of hclustvar(), this distance is based on correlation between variables and then between clusters – i.e group of variables (cf. the aggregation criterion defined in the package documentation. For more information, look at the paper dedicated to the package on jstatsoft. Paper title: ClustOfVar: An R Package for the Clustering of Variables).
The Y-axis (Height) is the value of this distance metric. If you see two clusters merged at a height x, it means that the distance between those clusters is x. Here for example, the minimal height is 0.3842319 and this is the distance between Shop.put and Discus which are the closest variables. This distance is equal to 1 - cor(decathlon$Shot.put, decathlon$Discus). Note that length(tree$height) ==  n-1, with n being the number of variables, since you need at least two variables to generate the first cluster.


text:
Li Wen Min, Encounter - A Different World (detail) from the Contemplative Shadow exhibition
Wenmin Li
Dr Wenmin Li completed a Master of Fine Art and PhD in Fine Art, both from UNSW Art & Design.
When Li Wen Min arrived in Australia from Northern China in 2001 she was already an accomplished artist. She had trained at the Luxun Academy of Fine Arts, an institute renowned for stressing rigorous technique and tradition. While there Li elected to focus on Western painting – its history, style, and technique. Having grown up with a father widely acknowledged as Shenyang's finest living calligraphy painter, Li, who also was interested in art, felt a new path of creative exploration was needed.
After graduating at the top of her class, Li sought to deepen her understanding of Western art tradition by living and studying in the West. She applied to study in Australia rather than North America because she says, "Australia was very welcoming".
At UNSW Art & Design, Li studied under the supervision of Mike Esson, one of Australia's most eminent figures working specifically in the world of drawing. Esson encouraged Li to consider a re-examination of her heritage from the newly acquired distance of her Sydney home. She did so by reading books about giant figures in Chinese brush stroke painting, Ba Da and Qi Baishi, and examining the things around her; the items that she owned and which made up her home, such as the kitchen sink, her desk, her clothesline, and a jar she used for flowers.
Utilising pen and paper and applying a Chinese folk art style, Li drew these items from different, and sometimes distorted, perspectives. A round table, upon which sits a jug of water, floats in the upper section of an ink-washed page. To the left, a white towel is hung from a rack. A tiny black door features in the lower section of the picture along with a white bird, both of which are surrounded by the upper bare branches of a tree. Li's drawings are characteristically delicate and stark, each visualised item bearing a detailed yet unknowable relationship to the others.
Li explains that soon after starting her postgraduate studies, "I started to realise that I liked space very, very much and then looked at Chinese traditional painting to see how they compose and how they use space; the 'three different view points', and so on. This multiple perspective in Chinese painting gives viewers a lot of freedom. You are not restricted to a fixed viewpoint… I looked at mark-making… and I looked at Paul Klee. I just used paper and worked intuitively… I wanted to break the boundaries of the techniques that I held so tightly."
Her unique perspective and considered style found immediate popularity among gallery-goers in Sydney. Li has exhibited widely around Australia and internationally. She is currently represented by Sydney's Flinders Street Gallery, where in addition to solo shows she has had a joint exhibition with her father.
Li teaches painting and drawing at UNSW Art & Design.
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