Dr. Kate Bachtel studies and co-creates programs and communities for gifted learners and the educators who care for them. She earned her Ed.D. with an emphasis in gifted from the University of Denver and holds her MA.Ed with an emphasis in equity from CU Boulder. Prior to founding SoulSpark Learning, a non-profit dedicated to optimizing student and educator development and well-being, she co-led the opening of a K-8 school for gifted learners. Kate is a grateful mom of two teens and past president and current director at SENG.
Jim Choy has devoted his life to encouraging children of all ages to engage in creative building through robotics, coding, and individuals creations. In 2018, he hosted the Gifted Alliance Pine Car Derby for GA member families.
MakerBay is Hong Kong's very own creative maker space open to the public. In 2017, MakerBay hosted our first ever MegaMarble Run Challenge. Gifted Alliance member families joined together to create a five-story marble run at the MakerBay Aberdeen St location.
Rick has 15 years of teaching experience. He holds multiple IB teaching certificates, along with a B.Ed, M.Ed., Post-Grad. Dip of Ed. and an Ed.D (ABD). He currently works in child development specialising in specific learning needs including gifted or highly talented. Rick enjoys inspiring children who are underachieving to finally experience successes and find that one subject that captures their attention. Over the past 15 years, Rick hopes to give parents a range of tools to help children become lifelong learners.


HANSARD 1803–2005 → 1910s → 1918 → January 1918 → 30 January 1918 → Commons Sitting → INDIA.
INVENTION AND RESEARCH BOARD (ADMIRALTY).
asked whether, although Mr. Karl Hestermann Merz, the new Director of Experiments on the Board of Invention and Research, was born in England, he is of pure German extraction; and whether in these times it would have been possible to find an Englishman to occupy this post?
The name of the Director of Experiments and Research is Mr. Charles Hesterman Merz, and not as stated. Mr. Merz and both his parents are natural-born British subjects, born in England. His father's father was born in South Germany, and settled in England about 1830. His mother's parents were natural-born British subjects. His selection for this important post at the Admiralty, for which he is pre-eminently suitable and qualified, has met with general approval, and the Board of Admiralty considers itself extremely fortunate to have secured his services, at very considerable personal sacrifice.
Back to NURSES (LIVES LOST IN MEDITERRANEAN).


text:
import { getTense, isAreAm } from '../lib.js'
const keep = { tags: true }

// all verb forms are the same
const toGerund = function (vb, parsed) {
  // console.log(form)
  const { verbToInfinitive, verbConjugate } = vb.methods.two.transform
  const { root, auxiliary } = parsed
  if (vb.has('#Gerund')) {
    return vb
  }

  // conjugate '-ing' verb
  let str = root.text('normal')
  str = verbToInfinitive(str, vb.model, getTense(root))
  let gerund = verbConjugate(str, vb.model).Gerund
  // 'are walking', 'is walking'
  if (gerund) {
    gerund = `${isAreAm(vb, parsed)} ${gerund}`
    // console.log(root, gerund)
    // vb.match(root).debug()
    vb.replace(root, gerund, keep)
  }

  // remove any existing auxiliary
  if (auxiliary.found) {
    vb.remove(auxiliary)
  }
  vb.replace('not is', 'is not')
  vb.replace('not are', 'are not')
  vb.fullSentence().compute(['preTagger', 'postTagger', 'chunks'])
  return vb
}
export default toGerund

redpajama_set_name: RedPajamaGithub


Y. Ishii, T. Watanabe, M. Akiyama, and T. Mori, "Understanding the Origins of Similar Android Apps," (poster presentation), RAID 2015.
B. Sun, T. Watanabe, M. Akiyama, and T. Mori, "Seeing is Believing? The analysis of unusual ratings and reviews on Android app store," (poster presentation), RAID 2015.
T. Harada, T. Mori, and S. Goto, "Detecting Malicious Wireless APs: Methodology and Field Studies," (poster presentation), RAID 2015.
This entry was posted in Event, Research by mori. Bookmark the permalink.


A complex of exceptional oils rich in omegas 6-9, and ?-oryzanol to fill the skin in lipids, restorative lost after menopause.
SENSITIVE SKIN : tested under dermatological control. Paraben-free.
More than nourished, skin is revitalized, transformed. Smooth, supple, luminous, she radiates youth.
- Let set for 10 drops for a 10-minute MASK.


text:
The New York Times / By David Yaffe-Bellany. March 22 2020.- But when he scanned the bean aisles at a grocery store in Pullman, Wash., on Sunday, he saw something he had never seen before: empty shelves."In one sense, this is like my best dream," said Mr. McGreevy, who runs a trade group for producers and packagers of pulses, a category of legumes that includes beans. "In another sense, you go, 'Wow, this is pretty serious.'" As the coronavirus pandemic upends daily life across the United States, Americans are filling their pantries with long-lasting essentials — pasta, rice, canned meat, even oat milk. But amid all the panic shopping, the growing demand for beans has stood out as an especially potent symbol of the anxious and uncertain times. At supermarkets, shoppers are stocking up on canned beans from familiar brands like Goya Foods, as well as thick bags of dry beans that usually lie largely untouched on store shelves.
To some suppliers, the sudden popularity of their once-unfashionable beans feels a little surreal.
"No one ever cares about beans at all," said Steve Sando, who runs the heirloom bean supplier Rancho Gordo in the Napa Valley. "It's just shocking. I used to be the loneliest man at the farmer's market."
In recent weeks, the buying frenzy has extended to the entire pulses family, including lentils, dry peas and chickpeas as well as beans. Across the industry, canners and packagers have seen a 40 percent increase in sales, Mr. McGreevy said.
At Goya, the increase has been even more dramatic: Sales of black beans, pinto beans and other canned products have spiked as much as 400 percent. In the last week, Goya has delivered 24 million cans to retailers.
"I've seen earthquakes and hurricanes. This is the first time I've seen this," said Bob Unanue, the company's president. "This is a tsunami, this is a hurricane that's not hitting one market. It's hitting all markets."
Many canners and packagers are hiring staff or adding shifts to meet the surge in demand. Typically, Rancho Gordo receives 150 to 200 orders a day for its specialty beans. On March 14, the company received 1,669 orders. The next day, it recorded an additional 1,450. "We're not set up for this at all," Mr. Sando said
At his warehouse, Mr. Sando has instituted a night shift, hiring a handful of workers from a temporary agency to help out. He has told customers to expect delays as long as three or four weeks in fulfilling orders. Some mornings, he said, he wakes up to find that the company has already sold as many beans as it would normally sell in an entire day.

redpajama_set_name: RedPajamaCommonCrawl


text:
Home » Blog » Business » US, El Salvador tout CAFTA benefits
BusinessEconomics29/11/2007
US, El Salvador tout CAFTA benefits
SAN SALVADOR, El Salvador (AP) – A free trade agreement between El Salvador and the United States is boosting economic growth in the Central American country, Salvadoran and U.S. officials said Wednesday.
El Salvador's economy grew 4 percent since it joined the Central American Free Trade Act, or CAFTA-DR, last year, U.S. Assistant Secretary of State Daniel Sullivan said.
'This hadn't happened in more than 10 years,' Sullivan told reporters while visiting a San Salvador factory that manufactures pupusas — thick, stuffed corn tortillas served with pickled cabbage — to sell in cities throughout the U.S.
The trade agreement, which slashes tariffs on U.S. exports, was approved by Guatemala, Honduras, Nicaragua and El Salvador in 2006, as part of a push by the U.S. to boost exports worldwide. The Dominican Republic signed on in March 2007 and, after a hotly contested referendum, Costa Rica's president signed the agreement into law last week.
El Salvador's Economic Secretary Yolanda Mayora said the country's own textile and agricultural exports have increased since the accord took effect.
'The United States is El Salvador's main commerce partner and we send 57 percent of our exports there,' she said.
Traditional Salvadoran food exports to the U.S., where 2.5 million Salvadorans live, have reached about $19 million in the last year, she said.
'El Salvador is the (member) country that has benefited the most from this accord, and the country whose exports to the U.S. have had the greatest growth,' Mayora said.
JosephBeale


As suggested by the title, the concepts of "surface play" and "spectacle" -- though not necessarily in that order -- form the basis for Andrew Darley's investigation of late 20th century forms of digital media, such as computer games, simulation rides, digital cinema, and music videos. Darley, a Senior Lecturer in Critical Studies at The Surrey Institute of Art and Design, makes effective use of these terms to provide a critical framework for a discussion of new media forms. These concepts, however, particularly the unfamiliar construction of "surface play," require some explication before Darley's argument for their significance can be fully investigated.
Chronologically, the idea of spectacle is the first to emerge in Darley's account of new media genres and their aesthetic significance. Part I of Visual Digital Culture recounts the history of those digital media that will form the focus of Darley's account and provides an historical account of the emergence of spectacular entertainments in the 19th century. Such pre-cinematic entertainments as the Phantasmagoria and the diorama represent for Darley distinct yet related trends in spectacular representation, the former concerned with creating convincing images of the supernatural and the latter with convincing representation of the natural (42). That dual desire for forms of spectacle which accurately reflect alternate worlds and for those which realistically present our own world back to us can be seen in contemporary modes of visual production -- such as cinema and television -- and the satisfaction of that desire is often achieved through digital means. In part, it is this idea of multiple forms of verisimilitude provided by visual spectacle that informs Darley's account of contemporary visual digital culture. However, a second key to his analysis of that contemporary culture is to be found in his investigation of the popularity -- at the turn of the 20th century -- of the early cinema and the amusement park as spectacular entertainments. The amusement park engages its audience in a sensory participation in the forms of spectacle provided for their pleasure. In early cinema, viewers were fascinated not just by the images presented on screen but by the technological marvels which produced such images -- "the cinematic apparatus itself is being wondered at" (45). That sensory stimulation (of the amusement park) and technological fascination (of early cinema) form key elements of the concept of spectacle which Darley is concerned to evoke for contemporary digital media.
An analysis of the subsequent development of the cinema leads Darley to the conclusion that the elements of spectacle inherent in pre-cinematic entertainments, early forms of cinema, and amusement parks were largely displaced, though not erased, by an insistence on the pre-eminence of narrative in popular cinema. The focus on plot and characterization forced the spectator's attention away from the joys of the spectacle -- and certainly away from a consideration of the apparatus by which that spectacle was produced -- and towards a viewing position in which "the cinema viewer . . . is 'taken' into the world of the story and through the story itself" (48). That break from the emphasis on the spectacle as part of cinematic and related forms of entertainment provides Darley with an opportunity to reflect, in Chapter 3, on the peculiarly contemporary context for the digital genres he analyzes. Despite an insistence on the connection of such genres to the spectacle forms of the late 19th century, Darley sees "these latter-day forms and expressions [as] highly distinctive" -- a distinction that rises, in part, from their status as genres which respond to and against the insistent force of narrative cinema.
Darley uses the work of critics such as Baudrillard, Jameson, and Eco to assist in constructing a framework for the investigation of contemporary visual culture -- a framework which rests on the use of terms such as "reproducibility and repetition, self-referentiality and intertextuality, simulation and pastiche, and superficiality and spectacle" (75). All of these terms can be used as formal and critical descriptors of a mode of visual production and display in which the emphasis is not on depth of narrative or meaning, but rather on the "surface play" that Darley claims as a hallmark of visual digital culture. In Part II of his text, Darley examines particular examples of contemporary digital production through the lens of the cultural framework just established.
It is in this second section of Visual Digital Culture -- Aesthetics -- that the reader who does not have a familiarity with the objects of Darley's critique will feel most adrift (a lack of familiarity with the theorists referenced in Chapter 3 could also be problematic, though Darley does acknowledge in a footnote that such familiarity is assumed, and he provides reading suggestions for further reference). That a text focusing on the aesthetics of visual media contains such a paucity of images was, for this reader, a serious drawback. Darley acknowledges at the outset that "[t]he intention was to include more illustrations than those that eventually made it into the following pages" (ix) and it is understandable that difficulties with obtaining permissions made the inclusion of those other images difficult. However, as understandable as the absence may be, the lack of visual examples makes it unnecessarily difficult to follow Darley's argument in this section.
Darley uses examples from contemporary cinema (Toy Story, Terminator 2, Titanic), advertising (Eagle Star insurance, Smirnoff), and music videos (Neneh Cherry, Michael Jackson) to link contemporary visual culture to an aesthetics of spectacle and of surface play reminiscent both of 19thcentury entertainments and of the contemporary framework established through the work of Baudrillard, et al. Most successfully, these links are established through an analysis of the compelling visual nature of the effects routinely employed in the genres described. In the case of films such as Terminator 2, for example, it is easy to see that viewers are absorbed less by the flimsy narrative structure than by a fascination with the digital effects used to create the cinematic spectacle -- a throwback to the technological fascination experienced by viewers of the early cinema. In Chapter 6, on the digital image, Darley moves to a consideration of the notion of surface play and ". . . the production of imagery that lacks traditional depth cues. Imagery that at the aesthetic level at least is only as deep as its quotations, star imagery, and dazzling special effects" (124). A discussion of the concepts of repetition, montage, authorship, and genre leads to the conclusion that much of contemporary visual digital culture is bound up in a context which privileges the seamless melding of effects borrowed from multiple sources, such that the visual thrill is found not in the production of something undeniably "new" but in the refashioning of the known to increasingly sophisticated and challenging effect. The high art distinctions of originality, authority, and definability cease to hold importance as ". . . genres themselves have been turned into historical signifiers . . . additions to the storehouse of styles and figures, or objects of pastiche and allusion: further elements for the surface play that constitutes contemporary visual culture" (144).
In Part III, Darley focuses on the experience of spectators for this visual digital culture. Here we return again to that 19th century moment, as the early cinema and the amusement park give way to the computer game and the simulation ride. Darley seems less at ease with this examination of spectatorship, acknowledging that ". . . it is frequently difficult when considering aesthetic form to determine where the boundaries between aesthetics and spectator experience begin and end" (147). Nonetheless, he raises some significant questions and begins to address them -- namely in considering the place of interactivity in spectatorial experience and in addressing the distinction between the public and private viewing experiences (between going to the cinema and playing a computer game at home, for example).
What Andrew Darley does best in Visual Digital Culture is to raise questions which might fruitfully be applied to other genres than those discussed here. He seems to take a dim view of the state of criticism on digital art and, indeed, the field was still nascent when much of the research for this book must have been undertaken. Nonetheless, art historians and critics have begun to raise some similar questions in regard to forms of digital art and Darley's text makes an interesting addition to the discourse from another area of visual culture. I am troubled by the neglect of the work of Lev Manovich, whose writings on digital cinema and its relation to traditional animation and 19th century pre-cinematic genres would seem to be pertinent to Darley's work. However, taken as Darley himself describes it -- a beginning exploration of a "distinctive aesthetic space" -- Visual Digital Culture is a worthwhile read for anyone concerned with the impact of new media on contemporary visual culture.


text:
Mohammed Saleh Ali Al-Musalami (Sohar, Omán; 27 de abril de 1990) es un futbolista omaní. Juega de defensa central y su equipo actual es el Al-Seeb SC de la Primera División de Omán. Es internacional absoluto por la  desde 2011.

Trayectoria
En septiembre de 2021. Al-Musalami fichó con el Al Gharafa de la Liga de fútbol de Catar.

Selección nacional
Debutó con la  el 21 de septiembre de 2010 ante  por un encuentro amistoso.

Participaciones en torneos juveniles

Participaciones en copas

Clubes

Palmarés

Títulos nacionales

Títulos internacionales

Vida personal

Referencias

Enlaces externos
 Mohammed Al-Musalami en Soccerway

Futbolistas de Omán
Futbolistas del Fanja SC
Futbolistas del Al-Jazira Sporting Club
Futbolistas del Al-Gharafa Sports Club
Futbolistas de la selección de fútbol sub-23 de Omán
Futbolistas de la selección de fútbol de Omán
Futbolistas de la Copa Asiática 2015
Futbolistas de la Copa Asiática 2019

redpajama_set_name: RedPajamaWikipedia


A black taxi in Shibuya. Tokyo, Japan.
excellent, love the cool tones.
The subject really suits the panoramic format and the cool toning. Super reflections.
Exceptionally composed image. Love the tones.
j'aime beaucoup les couleurs, et le choix de cadrage. Belle image.
I love the cool tint and composition.
Nice shot. It tells a nice story, even though I'm sure it's not true :) All the space around the car and the crowd of people in the back of the frame gives me the impression that they are all making way and watching the president pass.
very dramatic shot, i'm impressed and love the gel coloring!!
Excellent composition and framing. The near-monotone coloring is also superb. Great job.
beautiful night light and colors..bravo!
I like how you've framed this image. It makes it dramatic and very effective.
Looks like a movie scene. I love the tones.
Great contrast...the vignetting works well too!
fun! I love this treatment and capture!
Beautiful framing. I love the legs at the top of the frame and crossing lines on the road. And great treatment, as usual.
Beautiful. Love the japanese symbols on the car!
The tones are fantastic in this, very nice!


Back in 2015 AD interviewed this shill, by the name of Fiona O'Leary, who threatened us with lawsuits. She never disclaimed or made apparent that she earns a hefty living from promoting autism as non-curable while attacking others who counter her claims. This so-called expert seems to live the high life off of autism.
The HPV vaccine is a treatment in widespread use but its efficacy in preventing cancer is medically unproven, while unintended, adverse reactions are blighting and even ending the lives of girls and young women across the world. However, pharmaceutical manufacturers and many health authorities are refusing to acknowledge there is a problem and the medical community is continuing to offer the vaccine.
SECURITY ALERT: For the last 48 hours, Natural News has been subjected to a large-scale, extremely well-funded DDoS attack that caused intermittent outages of site availability.
In the early 1950s, in a now-admitted Ashkenazi-led eugenics program to destroy the future of the Sephardic Jews in Israel and allow the Ashkenazim to reign supreme, all Sephardic children received 17,500 rads of radiation though their brains, under the cover of a "ringworm curing campaign".


Ruger Mark IV .22 pistol?
.22 pistols,what do you have or like?
something fun...and useful. .22 lr semi auto?
Video review of my Stoeger .22 Lugers.
Effective range 22 mag shot shell....Rattle snake country? Dogs in snake country?
night sights for sig misquito?


text:
Q: How to copy files to network path or drive using Python Mine is similar to this question.
How to copy a file from a network share to local disk with variables?
The only difference is my network drive has a password protect with username and password.
I need to copy files to a Samba share using Python and verify it.
If I manually login in then the code works, but without logging in the shutil command does not work.

A: If you have the pywin32 library (eg comes part of the ActiveState Python distro), then you can get it done in a few lines, without mapping a drive:
import win32wnet
win32wnet.WNetAddConnection2(0, None, '\\\\'+host, None, username, password)
shutil.copy(source_file, '\\\\'+host+dest_share_path+'\\')
win32wnet.WNetCancelConnection2('\\\\'+host, 0, 0) # optional disconnect

There is a more complete example on ActiveState Code

A: I'd try mapping the share to an unused drive letter by calling the NET USE command using os.system (assuming you are on Windows):
os.system(r"NET USE P: \\ComputerName\ShareName %s /USER:%s\%s" % (password, domain_name, user_name))

After you mapped the share to a drive letter, you can use shutil.copyfile to copy the file to the given drive. Finally, you should unmount the share:
os.system(r"NET USE P: /DELETE")

Of course this works only on Windows, and you will have to make sure that the drive letter P is available. You can check the return code of the NET USE command to see whether the mount succeeded; if not, you can try a different drive letter until you succeed.
Since the two NET USE commands come in pair and the second one should always be executed when the first one was executed (even if an exception was raised somewhere in between), you might wrap these two calls in a context manager if you are using Python 2.5 or later:
from contextlib import contextmanager

@contextmanager
def network_share_auth(share, username=None, password=None, drive_letter='P'):
    """Context manager that mounts the given share using the given
    username and password to the given drive letter when entering
    the context and unmounts it when exiting."""
    cmd_parts = ["NET USE %s: %s" % (drive_letter, share)]
    if password:
        cmd_parts.append(password)
    if username:
        cmd_parts.append("/USER:%s" % username)
    os.system(" ".join(cmd_parts))
    try:
        yield
    finally:
        os.system("NET USE %s: /DELETE" % drive_letter)

with network_share_auth(r"\\ComputerName\ShareName", username, password):
     shutil.copyfile("foo.txt", r"P:\foo.txt")

redpajama_set_name: RedPajamaStackExchange


text:
Q: Can one use Fiddler to monitor a PCOMM session, or any 3270 Emulator session? Can one use Fiddler to monitor a Mainframe PCOMM session? Or a Mainframe session with any 3270 Emulator software?  If so, how?  I have looked at the Fiddler documentation, and searched, and it is not mentioned.
The ultimate goal is to connect to the mainframe using Java code.  I have already provided a PCOMM automation solution that logs on, goes to CICS, performs the transaction, screen scrapes the screens, and puts the screen data to a file.  Now the client wants me to do the same thing without PCOMM. The user wants to use a Java solution.  I have Java program that connects to the mainframe.  But the initial menu screen is not returned in order to "log on" to the mainframe.  I am seeing a series of 3270 codes, such as 255 (IAC)  253 (DO) 40 (?), I reply with 255, 253 (Will do) 40 (?) EOR.  The mainframe comes back with 255, 250 (Subnegotiate) 40 (?), and so on.  I tried such codes in different ways, but so far no luck.   See http://www.faqs.org/rfcs/rfc1576.html for more info on the codes to negotiate a session 3270.  It is a very old document and may have been updated since.  Also http://www.faqs.org/rfcs/rfc854.html
My thought was to monitor the PCOMM session, to discover the correct conversation to negotiate a connection to a 3270 session.  After all, PCOMM is working to make that session happen.
thanks,
Baruch Atta

A: I see what you are doing. You have a couple of options:

*

*Use either HATS or the Host on Demand (HOD) API to access the screens. This API is designed to transform the screens into Java objects that you can work with. Actually, you can use HATS to create web services (either SOAP or REST based), to which you can leverage any client to access. This is the quickest, and fastest method. Here is an overview of HATS web services. If you try just hitting the telnet stream with Java, you will spend months if not years recreating what the HATS/HOD API already offers.

*Modify your CICS applications and setup CICS web services. These are OSGi bundles that you deploy to JVM regions in CICS. This is the most elegant method, but requires a steeper learning curve, and time to implement. However, once you've done the first CICS program, the rest start to fall in place like dominoes.  Check out this Redbook.

A: Working with other staff on site here, we have concluded that Fiddler can not view PCOMM communications.  We have concluded that Fiddler can only monitor BROWSER based communications.  Our staff claim to be "experts" in Fiddler, with lots of experience.  If anyone on STACK Overflow can actually use Fiddler to monitor PCOMM communications with a mainframe, I would love to be proven wrong.


Skytap Cloud is highly available and scalable because of its microservices architecture. Microservices and DevOps practices help Skytap technical teams own services end-to-end, while consistently increasing velocity and quality.
Skytap Cloud's web tier is the key to its self-service simplicity and speed. This tier is responsible for the user interface, powerful REST API, administrator visibility and control, and collaboration. Skytap Cloud's web UI takes full advantage of modern browsers, from SVG and canvas to dynamic rendering and websockets.
Skytap Cloud's platform tier provides an internal abstraction and workflow engine on top of raw infrastructure resources. This layer handles the complexity and orchestration required to turn raw infrastructure resources into working virtual data centers. As a result, Skytap Cloud's web tier can issue simple commands, such as "run environment," without needing to understand the details. The platform tier also implements higher level infrastructure services like Skytap Cloud Container Management.
Skytap Cloud's resource tier exposes networking, storage, and compute resources to the user as fully configured virtual machines and environments. It features fully virtualized layer 2 and 3 software-defined networking and automated L3 edge services (i.e., routing, public IPs, NAT, IPSec VPN, DHCP, and DNS). The networking subsystem uses our patented scale-out virtual gateway router (VGR) architecture, OvS and OpenFlow-based switching, and distributed routing on commodity Ethernet and servers. Skytap Cloud's storage subsystem is built on ZFS and Ceph, enabling fast cloning of complete environments, including disk and memory state. All Skytap Cloud resource services are designed to be hypervisor agnostic.


Obituary for Margaret Elizabeth (Maszle) Armour | George Green Funeral Home Inc.
Beloved wife of the late James V. Armour; Marge is survived by her sister, Ann Hollis and several nieces and nephews as well as great nieces and nephews. She was preceeded in death by her parents; Mary (Veradi) and Joseph Maszle as well as her siblings; Julie Adams, Steve, George, Joseph (wife Clara survives), Edward (wife Arlene survives) and infant sister Helen.
Marge enjoyed playing bingo five days a week, shopping, she had a love of jewlery, and a great fondness for her cat Spinner. She will be remembered most for her generous and kind heart.
A Memorial Service will be on Thursday, April 18, 2019 at 7:00 pm in Penn Hills Free Methodist Church, 715 Universal Rd, Pittsburgh, PA 15235. PLEASE MEET AT CHURCH. Arrangements entrusted to George Irvin Green Funeral Home, Inc.


text:
Q: Login process deletes question When posting a question on a SE site you don't have a SE account on yet, logging in can take you to the main page, instead of posting your question, if you're not careful. Users who do not know about the auto-save feature may get the impression that their question is now lost.
A minor issue.
To reproduce:

*

*Go to a Stack Exchange site you don't have an account on yet

*After creating your question, scroll down and click "sign up using Stack Exchange" (incorrectly, yes; but it is super easy to overread)

*On the next page, realize your error and choose "already have an account? Log in"

*Log in and/or create a SE account on this new site

You will be taken on the main page of the SE site, instead of your question.

A: Yes; that isn't ideal, and will be resolved (preserving the ?returnUrl) in the next build.


text:
package net.venaglia.nondairy.soylang;

import com.intellij.lang.Language;
import com.intellij.openapi.fileTypes.SingleLazyInstanceSyntaxHighlighterFactory;
import com.intellij.openapi.fileTypes.SyntaxHighlighter;
import com.intellij.openapi.fileTypes.SyntaxHighlighterFactory;
import net.venaglia.nondairy.i18n.I18N;
import org.jetbrains.annotations.NonNls;
import org.jetbrains.annotations.NotNull;

/**
 * User: ed
 * Date: Jul 31, 2010
 * Time: 9:08:58 AM
 *
 * IntelliJ language definition for closure templates
 */
public class SoyLanguage extends Language {

    public static final SoyLanguage INSTANCE = new SoyLanguage();

    @NonNls
    private static final String ID = "ClosureTemplate";

    private SoyLanguage() {
        super(ID);
        SyntaxHighlighterFactory.LANGUAGE_FACTORY.addExplicitExtension(this, new SingleLazyInstanceSyntaxHighlighterFactory() {
            @NotNull
            protected SyntaxHighlighter createHighlighter() {
                return new SoySyntaxHighlighter();
            }
        });
    }

    @Override
    public boolean isCaseSensitive() {
        return true;
    }

    @NotNull
    @Override
    public String getDisplayName() {
        return I18N.msg("soy.language.display_name");
    }
}


text:
audit_event is a simple way to consume the ODMAdapter
[Clinical Audit Records service](http://rws-webhelp.s3.amazonaws.com/WebHelp_ENG/solutions/clinical_data_audits/clinical_audit_records.html#odm-adapter-clinical-audit-records)

audit_event takes the approach of converting the ODM dataset provided by the clinical audit record service into a set of
events. This is the same approach that SAX parsers take to parsing XML files.

## Capturing Events

To use the library you must first create a class that registers the events you want to capture. For instance,
if you want to count the number of subjects created you might write:

    class SubjectCounter(object):

        def __init__(self):
            self.count = 0

        def SubjectCreated(self, context):
            self.count += 1

        def default(self, context):
            """You can use the default event to capture all events that you have not defined a handler for
               the default handler is also optional, you do not have to define it.
            """
            pass

Events raised are named after the audit subcategory for each reported audit in the ODM stream. See a
[full list of event names](http://rws-webhelp.s3.amazonaws.com/WebHelp_ENG/solutions/clinical_data_audits/clinical_audit_records_in_subcategories.html#odm-adapter-clinical-audit-records-in-subcategories)

The _context_ object passed contains all the data pulled from the audit record.

    Context:
        study_oid
        subcategory
        metadata_version
        subject
            key
            name
            status
            transaction_type
        event
            oid
            repeat_key
            transaction_type
            instance_name
            instance_overdue
        form
            oid
            repeat_key
            transaction_type
            datapage_name
        itemgroup
            oid
            repeat_key
            transaction_type
        item
            oid
            value
            freeze
            verify
            lock
            transaction_type
        audit_record
            user_oid
            location_oid
            datetimestamp
            reason_for_change
            source_id
        query
            repeat_key
            status
            response
            recipient
            value
        protocol_deviation
            repeat_key
            code
            klass
            status
            value
            transaction_type
        comment
            repeat_key
            value
            transaction_type
        review
            group_name
            reviewed
        signature
            oid
            user_oid
            location_oid
            datetimestamp

What you look for in the context object depends on the audit subcategory type. For instance in the case of
the SubjectCreated event there will be no value for event, item, review, signature etc. In the case of a signature
event of some kind the signature attribute will be populated with a context.Signature object.

The purpose of this scheme is to cope with the many different types of audit events that can be reported via the
clinical audits dataset.

## Using ODMAdapter

ODMAdapter is a class that takes a RWSConnection, the name of the study and environment you want to process for
events and an instance of your eventer class.

the run() method starts ODMAadpter using the RWSConnection credentials to pull audits from the study, passing them to
your event capturing class for reporting.

    #Define a counting class
    class SubjectCounter(object):

        def __init__(self):
            self.count = 0

        def SubjectCreated(self, context):
            self.count += 1

    #Create one
    counter = SubjectCounter()

    #Make a connection
    c = RWSConnection("ravedemo7","myusername","**mypassword**")

    #Pass connection and counter to the ODMAdapter along with the study name/environment we want to process
    o = ODMAdapter(c, "MEDICILLIN-RD7","DEMO", counter )

    #Run the adapter
    o.run()

    #get the count
    print counter.count

The ODMAdapter run() method takes a number of optional arguments. By default it will start with audit id 0 and keep
requesting pages of data (with audit 1000 records per page, the minimum) until the Clinical Audit Records webservice
says that there is no more data.

The options to run() are:

    start_id=0     #Which audit id to start ar (great for daily/hourly incremental pulls from the service)
    max_pages=-1   #How many pages of data to pull (-1 means all pages)
    per_page=1000  #The size (in audit records) of each request - 1,000 is min, higher takes more memory/time

## Working out which id to start on

If we planned to run our Subject Counter on a regular basis, we wouldn't want to start from the beginning of the
"audit tape" each time, that would be inefficient. Instead we could change our SubjectCounter class to track the
last id it saw and ask for this value +1 the next time.

    class SubjectCounter(object):

        def __init__(self):
            self.count = 0
            self.max_id = 0

        def SubjectCreated(self, context):
            self.count += 1
            self.max_id = context.audit_record.source_id

        def default(self, context):
            self.max_id = context.audit_record.source_id

Now at the end of a run we can ask for the max_id and feed that back into the ODMAdapter .run(start_id=max_id+1)
method.


What is Ultra-Fast Fibre Broadband?
Ultra-Fast Fibre is the next generation of broadband being delivered by the Government's Fibre Optic Network roll out.
2degrees Ultra-Fast Fibre is perfect if you're online a lot. It's great for business where you might have multiple devices connected at the same time, downloading and uploading large files or for smooth and consistent video conferencing.
Who can get Ultra-Fast Fibre Broadband?
The fibre optic network is being built by four telecommunications infrastructure companies; Chorus, Enable, North Power and Ultra-fast Fibre. These are called local fibre companies or LFC's. More information on the expected completion dates for installation can be found on their websites.
If Ultra-fast broadband is available in your area then that is the service we'll provide, for no extra cost. You can opt out of Ultra-fast broadband if you want.
2degrees Broadband will arrange your installation set up with your LFC. Typically installation involves 2-3 visits from your local LFC where they will determine the work that needs to be done and then install the devices required at your premise. You will need to meet their Technician onsite during these visits.
Ideal for those who want faster broadband but aren't in a fibre-ready area yet. Great for downloading and video conferencing.
A standard broadband service delivered over a traditional copper line and good for everyday use such as general web browsing.


text:
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When I was a child, the World was new... unexplainable, and sometimes frightening. Let's start with food.
To begin with, I learned that certain foods were eaten at certain times, and this almost never varied. In the morning I ate either breakfast cereal or some version of "eggs" (usually scrambled). At lunch it was more often than not a sandwich, or maybe a bowl of soup on the few days of the year that the temperature dipped below the 70s in Southern California, indicating an indoor play day.
Dinner always seemed to involve much more drama than I thought was necessary. I couldn't wear my "play clothes", and I was reminded numerous times that "dinner was almost ready", even though I knew that "almost" came to mean anytime in the next hour or two.
The dinner menu was usually some treatment of meat, along with either peas, corn, or mashed potatoes. The mashed "potatoes" were instant, and the peas and corn were canned. Often there was a dessert choice of ice cream, which led to a dilemma — while being admonished by my father to "eat all of your dinner", my mom chimed in with "leave room for dessert", which seemed impossible to me. If I ate everything on my dinner plate [not a pleasant thought], then I wouldn't have room for anything else for a day or more.
An unwritten (but rigidly enforced) rule was that breakfast foods were only to be eaten at breakfast time, lunch foods only at lunch time, and dinner foods only at dinner time. The reasoning for this was never fully understood. Many a time I could have made it through dinner with only a baloney sandwich, but the situation never materialized.
The way certain foods were combined and others weren't never made sense either. A peanut butter and jelly sandwich was OK, but a peanut butter and mashed potato sandwich was not, even though I could eat both of them separately during the same day. And why did a sandwich containing both peanut butter and jelly become more acceptable than one containing only jelley?
While we're talking about bread-related foods, how come trimming off the crust was OK, because it was, after all, "burned" bread, but serving the entire piece of bread as "toast" was OK too, in which all the bread was burned?
One practice at the kitchen table made absolutely no sense to me, and never has. We were never, and I mean never, allowed to take a spoonful of anything and put it into our mouths "upside down". My reasoning was that, although I had no hard proof of this in 6th grade, there were more taste buds (whatever they were) on my tongue than on the roof of my mouth, therefore instead of having the spoon come in contact with my tastebud-laden tongue, I chose to let the food have that opportunity, so that I might derive more flavor from the boring food at my disposal. My reasoning fell on deaf ears, and it wasn't until I moved away from home did I get a chance to practice my upside-down skills.
Let's see... what other rules were enforced during my formative years? Obviously we weren't allowed to drink out of the bottle or carton that resided in the fridge, and as long as there were no parents around that law was quickly forgotten. Putting a carton of ice cream back in the freezer with only a teaspoon of ice cream left used to enrage my father, and my brothers and I fell victim to that rage more often than not. If we were having meat, mashed potatoes, and either corn or peas for dinner (which was the case 99% of the time) it was a cardinal sin to allow anything to come in contact with anything else on our plate. Scooping a spoonful of creamed corn, for example, onto the mashed potatoes and eaten together would, if noticed by our parents, bring down wrath upon us.
During the 50s and 60s, the folding tray began to take the place of the kitchen table on more and more occassions. The idea was that we could then presumably watch TV while we were eating dinner. As innocent as this practice seemed, it ended up that the only thing on during the "dinner hour" were news programs, and it was difficult to enjoy a nice dinner while watching student protestors getting tear gassed or images of the Vietnam War. Not only that, but the flimsy trays were a disaster waiting to happen when you had to get up to either get more food or go to the bathroom. Extricating oneself from behind a fully-loaded tray was often met with an unfortunate ending, as my foot would gently caress to willowy leg of the tray and down onto the carpet would spill my dinner plate and milk glass.
As far as food-related incidents go, the incident by which all incidents are judged by occured when I was in high school and was invited to a friend's house for Thanksgiving Dinner. I approached this with about as much fear and loathing as getting up in front of class to read a report or something. I had to assemble my best clothes (i.e. clothes I hardly ever wore) and brush all of my teeth, which was normally reserved for a "date night". I combed my hair enough to make Alfalfa proud, and tried to remember what my friend's parents names were.
Arriving at what I thought was fashionably early, I was surprised to see that there were several other friends-of-my-friend already there. What I imagined to be a quiet, relaxed dinner was now looking like a movie set — the table was about 10' long and covered with a fancy table cloth, upon which were place settings consisting of at least 11 different kinds of forks, knives, and spoons. Two or three glasses of different sizes, extra plates, napkins big enough to double as beach towels, and various covered pans with who knows what inside. We were called to the table, our seating arrangement pointed out, and we engaged in nervous small talk. Seated across from several of my school mates I had to stifle the urge to revert to our usual locker-room vernacular when we spoke.
At last a place was cleared in the center of the table, my hosts mom (whose name escaped me) came in from the kitchen and ceremoniously placed a huge covered platter down with great pomp and circumstance. All eyes were on the center of the table... all conversations stopped, and the cover was slowly lifted revealing... something unrecognizable!
All conversation stopped. All thoughts stopped. All eyes were focussed on the center of the table. Gradually I realized that the football-sized object on the platter was not a turkey (as expected) but a giant tongue. Our Thanksgiving Dinner, a tradition probably even more American than apple pie, was being bastardized with a huge cow's tongue.
Up until that time, while I had never really seen a real cow's tongue, I'd seen plenty in movies and cartoons, but this one was different. I imagined it was similar to an iceberg, where only a fraction was exposed above water, with the majority laying hidden in the depths below. If that were true, than the cow's tongue must have been rooted in its stomach, because this one was far larger that I imagined.
Nervous conversation ensued while my friend's mom proceeded to cut slices off the tongue and plop them on everyone's plate. I had to look away during this phase, becuse watching someone cut a slice off some turkey's body was one thing, but slicing up a tongue, which in many ways looked like my own tongue, only much larger... that was personal. You could even see whatever inner body parts that made up the tongue hanging there in plain sight, sort of like when a bulldozer cuts away a hillside, revealing all of the rock strata that existed underground, but wasn't visible from the surface.
In the next few minutes I would be faced with possibly the most difficult thing I had to do in my life — possibly even more difficult than buying condoms at the drugstore. I would have to take a bite of the tongue. I tried to clear my mind and think only of the task at hand, but thoughts of what the cow did with that tongue during an average day in a pasture kept creeping up. Looking around the table, I saw that I was not alone, as the expressions of my friends showed intense trepidation as well. Finally welling up enough courage to actually take one of the forks in hand (and secretly wishing that it was the right one) I plunged it into the slice on my plate, took a knife (again wishing that it was the right one), and cut off a reasonably-sized piece.
Raising it to my mouth, I paused for a slit-second to see if my friends would follow suit, but they just sat transfixed, as though I was a world-renowned surgeon and they were my students observing a delicate operation. Too late now to back down, I committed the piece to my mouth, fully expecting to have to chew it for several minutes as if it were a slice of rubber off a tire, but to my surprise it almost, but not quite, "melted" in my mouth, sort of like eating liver. Between everyone else at the table and me, I don't know who was more relieved, and thereafter my friends joined in, showering my host's mother with glowing descriptions of how good the dinner was.
It was all downhill for the rest of the evening, and as far as I know, there were no gastronomic incidents afterward. We all remained friends — possibly even more so than before the dinner, for we faced an obstacle as one and conquered it. Nobody talked specifically about the dinner in the time to come, but I always felt that each year, when Thanksgiving rolled around, we all would remember the event and smile, knowing that if we made it through that dinner, than we could make it through any dinner.
In the years to come I moved away from home and enjoyed the freedom of picking and choosing the food that I ate. I never purchased tongue or any meat products, because I became a vegetarian and reaped the benefits of a healthier diet, a lower food bill, and the knowledge that the vegetables I ate didn't do anything weird to themselves while they were in the garden.


Vacuum clean. For muddy footprints, allow mud to dry, then brush off. Since mohair does not produce static, the fibres will not retain dust but instead allow it to fall through the weave. Turn carpet regularly to brush away all dust and grit from underneath. Mohair flat weave carpets are generally reversible, unless otherwise specified.
Immediately pour cold water onto the mark or stain, placing a towel underneath the carpet to absorb the water. Do not attempt to clean it with an industrial product, as this could worsen the stain or turn it yellow. Sunlight soap (or its European equivalent Savon de Marseille) can also be used to gently loosen a stain, then rinse well with cold water and allow to dry flat in sunlight if possible.
1. Quality walk-off mats are recommended at entrances to reduce dirt and kitchen grease being walked into fitted carpets. To remain effective, clean these mats regularly and replace when necessary.
2. Vacuum your carpet thoroughly and more frequently in well used areas to prevent soil from settling into the pile. Ensure that your vacuum cleaner is well maintained and that the bag is changed regularly.
3. Remove spills and marks immediately, prompt action will prevent the spillage from penetrating the fibre and becoming fixed. Refer to the guide for spot cleaning. Maintain heavy traffic routes with Nouwens carpet cleaning powder from time to time (Capture and Duo Powder may also be used).
4. If the above care is taken, your need for professional cleaning will be minimal. However, do not wait until your carpet becomes too dirty before arranging a general clean by a reputable professional cleaner.
1. It is most important to clean up spills and marks immediately. The best method is to blot up liquids with white paper towels or white absorbant cloths. Scoop up solids with the blunt edge of a knife, a spoon or a spatula working inwards from the edge of the mark.
2. Treat mark with suitable cleaning products. Each Nouwens Carpet Care product carries directions which should be followed. Note: never rub, scrub or brush a mark as this can spread it and damage the carpet pile.
3. Products such as the Nouwens heavy duty carpet cleaner will leave sticky detergent residues after use, which promote re-soiling. Make sure you follow the directions to remove this detergent residue.
4. Do not rush - deep soiling might require repeated cleaning as it could 'wick' back after an initial clean. Allow the first clean to dry and vacuum well before repeating the procedure.
5. A generally safe and effective do it yourself spot removal product is the Nouwens carpet cleaning powder. It is also very effective for cleaning generally soiled areas such as main traffic routes.


text:
<?php

/**
 * FeedBackContantsForm форма обратной связи для публичной части сайта
 *
 * @category YupeController
 * @package  yupe.modules.feedback.models
 * @author   YupeTeam <team@yupe.ru>
 * @license  BSD http://ru.wikipedia.org/wiki/%D0%9B%D0%B8%D1%86%D0%B5%D0%BD%D0%B7%D0%B8%D1%8F_BSD
 * @link     http://yupe.ru
 *
 **/
class FeedBackForm extends CFormModel implements IFeedbackForm
{
    public $name;
    public $email;
    public $phone;
    public $theme;
    public $text;
    public $type;
    public $verifyCode;

    public function rules()
    {
        $module = Yii::app()->getModule('feedback');

        return array(
            array('name, email, theme, text', 'required'),
            array('type', 'numerical', 'integerOnly' => true),
            array('name, email, phone', 'length', 'max' => 150),
            array('theme', 'length', 'max' => 250),
            array('email', 'email'),
            array(
                'verifyCode',
                'yupe\components\validators\YRequiredValidator',
                'allowEmpty' => !$module->showCaptcha || Yii::app()->user->isAuthenticated()
            ),
            array(
                'verifyCode',
                'captcha',
                'allowEmpty' => !$module->showCaptcha || Yii::app()->user->isAuthenticated()
            ),
        );
    }

    public function attributeLabels()
    {
        return array(
            'name'       => Yii::t('FeedbackModule.feedback', 'Your name'),
            'email'      => Yii::t('FeedbackModule.feedback', 'Email'),
            'phone'      => Yii::t('FeedbackModule.feedback', 'Phone'),
            'theme'      => Yii::t('FeedbackModule.feedback', 'Topic'),
            'text'       => Yii::t('FeedbackModule.feedback', 'Text'),
            'verifyCode' => Yii::t('FeedbackModule.feedback', 'Check code'),
            'type'       => Yii::t('FeedbackModule.feedback', 'Type'),
        );
    }

    /**
     * Список возможных типов:
     *
     * @return array
     */
    public function getTypeList()
    {
        $types = Yii::app()->getModule('feedback')->types;

        if ($types) {
            $types[FeedBack::TYPE_DEFAULT] = Yii::t('FeedbackModule.feedback', 'Default');
        } else {
            $types = array(FeedBack::TYPE_DEFAULT => Yii::t('FeedbackModule.feedback', 'Default'));
        }

        return $types;
    }

    public function getName()
    {
        return $this->name;
    }

    public function getEmail()
    {
        return $this->email;
    }

    public function getTheme()
    {
        return $this->theme;
    }

    public function getText()
    {
        return $this->text;
    }

    public function getPhone()
    {
        return $this->phone;
    }

    public function getType()
    {
        return $this->type;
    }
}


text:
Involving an IBG Business M&A Advisor Hiked the Sale Price by 67%
One Buyer = No Buyer!
A client called, saying his accountant referred him to a Principal of IBG Business for a second opinion during the final days of a buyout. This Principal agreed to represent the seller, and had a tremendous impact on the outcome.
A Principal of IBG Business agreed to represent the seller and begin working through the process. The seller was told to convey to the buyer "We've retained an IBG Business M&A Broker and he'll be in touch with you in a couple of weeks once they've begun their process." The seller was nervous because their signed letter of intent was set to expire in two business days.
The seller called back immediately and reported that the buyer was resistant to adding a third party to the mix at this late date stating that the timing necessary for a broker to get involved would ruin the timing of the deal. Despite this resistance, the seller insisted upon engaging the IBG Business Principal and running the proposed process. The buyer was so concerned about the involvement of the IBG Business M&A Broker they countered by raising their bid for the company from $6M to $8M, if the seller would close immediately!
The following day, the seller reviews the IBG Business Principal's engagement documents and says, "We haven't even signed the deal to work with you yet, and we're already getting $2M more just because of your involvement. You've already paid for yourself!"
After two weeks of evaluation using the IBG Business process, the seller was informed their business was found to be worth $10M, not the $8M offered by the single buyer originally involved.
Nine months later, the IBG Business M&A Broker succeeded in helping the seller get $10M, $4M more than the original purchase price proposed. The time-tested and proven IBG Business process gives you the peace of mind that you won't leave money on the table! Having skilled, professional advice gained the seller $4M.
IBG's professionals have provided merger and acquisition services to the US middle market since 1986. Their award-winning M&A broker and advisor experts have an industry leading track record of 1,100 successful transactions. www.ibgbusiness.com
ARIZONA COLORADO NEVADA OKLAHOMA PENNSYLVANIA
espermedia
Quick Take:
PrevPreviousGenerating Interest from Multiple Buyers Is Key to Maximizing Sale Price


In Santa Barbara, it can be very difficult to find a contractor that you know and trust. So why even bother with the hassle? Why not let SERVPRO of Santa Barbara handle all of the headaches and be your contractor? In addition to the long list of restoration services that you see below, SERVPRO can be the coordinator of your project so that you do not have to deal with any unnecessary aggravation. SERVPRO can be your one-stop shop for all of your restoration needs. We can be there from the beginning of the problem all the way to the finish of the final repair.


text:
Very Top Secret Information
Let the secrets free.
Openminds
Welcome to Boca Chica, the Tiny Texas Town Where SpaceX is Building its Starship
Posted on December 3, 2019 by vtsiadmin
The last thing the residents of Boca Chica expected were the spaceships. Hurricanes, yes. Border walls, maybe. But the gleaming metal rockets that began hurling themselves into the sky atop pillars of flame were unexpected, to say the least.
When Elon Musk announced that his aerospace company, SpaceX, was considering the small coastal village as a potential location for their facilities in 2013, Boca Chica was a sleepy backwater at Texas' southern tip. Today, an interplanetary spaceship is being built just down the road.
And, along with SpaceX came a glut of aerospace geeks, rocket enthusiasts and SpaceX fans. Some drive from Brownsville, the nearest city up the coast, or farther afield, while legions more tune in to the round-the-clock webcams broadcasting the company's actions. To support our burgeoning obsession with the minutiae of spaceflight, a cottage industry of homegrown SpaceX observers has sprung up in this retirement paradise. They're drawn by a simple, shared mission: to watch the future unfold.
SpaceX's Starship under construction in Boca Chica. (Credit: IrinaK/Shutterstock)
Austin Barnard, a college sophomore in Brownsville, drives the 45 minutes to the SpaceX facilities multiple times a week. He regularly posts photos from Boca Chica to his more than 11,000 Twitter followers, informing the world about the progress of a future interplanetary spaceship.
Bernard hasn't always been a SpaceX "fanboy," as he calls himself. He stumbled upon SpaceX videos online after a rough time in his life, and his Boca Chica observations soon followed.
Starship and Starhopper seen from across the water in Boca Chica. (Credit: Austin Barnard)
Barnard began driving to the SpaceX facility with his phone after a few friends told him there was something going on there. He posted a few pictures to Twitter, and soon had thousands of SpaceX fans following him.
"I had a whole bunch of fans before really even starting my Twitter account," Barnard says.
He now runs one of the most prominent Twitter accounts documenting events in Boca Chica. His Twitter account even landed him some one-on-one time with Musk at the latest Starship update.
A perennial favorite is SpaceX's biggest, shiniest craft to date: Starship. First announced in 2017 as the BFR, or Big Falcon Rocket, it may be the rocket that will eventually take humans to Mars. Sleek illustrations show the rocket landing vertically on the Red Planet, off-planet colonies agleam in the distance.
The futuristic craft has begun to take shape only recently, though. For a long time, Barnard was posting pictures of what looked like a big metal silo in the middle of nowhere.
An up-close glimpse of the construction for Starship (left), with the test vehicle, Starhopper, directly next to it. (Credit: Austin Barnard)
For Rachel Gore, the excitement began when she found out SpaceX had chosen Boca Chica as a launch facility. Gore, an administrator for the tourist website SPadre.com, already had webcams set up for locals and tourists to monitor surf and fishing conditions. Now, the site has a dedicated webcam focused on developments in Boca Chica to cater to those visiting with interstellar dreams.
"Obviously, SpaceX is the biggest thing to ever come to the area and the addition of space tourism is going to be great for the island economy," Gore said.
The spaceport under construction in Boca Chica in January 2019. (Credit: IrinaK/Shutterstock)
In addition to the webcams, Gore makes the trip out to the SpaceX facilities several times a week with her husband, Gene. She's especially attentive when things are progressing quickly, like when Starship was transported to the launch site in in preparation for testing.
Their photos and updates end up on the SPadre.com-affiliated Twitter account, where they stir excitement among the SpaceX faithful. The webcam was extremely popular on the day that the lower and upper sections of the Starship prototype were welded together. Thousands of fans watched as the spaceship's body took shape.
It's evident on Twitter that there's a bond between the SpaceX watchers in Boca Chica. People retweet photos and alert each other if they notice any additions to the spacecraft. Some of them run into each other at the SpaceX site.
"They're basically my alarm clock," Barnard says of his followers. Many of them keep their eyes on the live webcams, including SPadre.com's, and try to alert Barnard if something major is happening on the grounds.
Starship Mk1 against the Boca Chica sunset. (Credit: SpaceX/Flickr)
Gore also says she's become familiar with many of her fellow SpaceX fans.
"We have become close friends with many of the supporters and enjoy hanging out and sharing in the excitement," said Gore. "We really enjoy all of the conversations and support we have had from SpaceX followers, both in person and on social media."
Barnard often sees tourists around Boca Chica, including fans from abroad. Not satisfied with a webcam, international fans have begun traveling to this tiny Texas town to see the beginning stages of SpaceX's flagship rocket for themselves. But their access may soon be limited.
While SpaceX's arrival in Boca Chica brings tantalizing possibilities for the private spaceflight industry, it's thrown the town's own future into jeopardy. Rocket launches are inherently dangerous, and as Musk's ambitions put more and more rockets into the air, it could threaten the safety of the residents of Boca Chica. The SpaceX CEO offered a solution recently, though not all the residents are happy about it.
"Probably, over time, [it's] better to buy out the village and we've made an offer to that effect," Musk said during a press briefing in September.
A fully assembled test version of Starship. (Credit: SpaceX/Flickr)
Each resident of Boca Chica received a private buyout offer in the mail, according to Business Insider. But a buyout could mean residents would be forced to leave their homes. Homeowners were offered up to three times their property value and VIP viewing for future launches on the Texas coast. Some residents told Business Insider they'll take the offer; others are fighting it.
Not only will this affect those living in the town, but Barnard says it will make it more difficult for him and fellow SpaceX watchers to view launches. They may have to move to South Padre Island, more than twice as far away from the launch pad as Boca Chica.
But even if they do, Barnard, Gore and their fellow SpaceX faithful will still be on the front lines of the modern-day space race. What's more, they'll be sharing it with all of us, allowing space enthusiasts the world over to join in the excitement. One day, they may even be showing us the first human mission to Mars.
« A New Silicon Chip Might One Day Replace Damaged Brain Cells
Hormonal Birth Control Might Cause the Brain's Hypothalamus to Shrink »
Openminds.tv


text:
Bratislava International Film Festival
Bratislava International Film Festival, The World According to Europe's Leading Modern Filmmakers
As I Open My Eyes (A peine j'ouvre les yeux)
The Bratislava International Film Festival (BIFF) will soon take a look back at this year's festival season and bring to the Slovak audience films that have climbed high at the most prestigious summits of the cinema world. A vast majority of them will mark a Slovak premiere and in many cases the festival is the sole chance to see them since most of these remarkable motion pictures will not make it to commercial distribution. Like every year, the festival will focus on the starry sky of contemporary European cinema represented by its fixed as well as shooting stars. The 18th edition of the Bratislava IFF will take place from November 11 through 17 in Bratislava municipal cinema theatres and movie clubs.
The Bratislava film festival continues in the tradition of presenting finalists of the LUX Film Prize that has been awarded by the European Parliament since 2007. Celebrating its tenth anniversary, the LUX Film Prize has an ambition to support diversity of European culture, make noteworthy cinematic achievements widely available to European audiences and promote individual member states' cinemas inside as well as outside the Union's borders. Between October and December, the triplet of finalists will tour more than 50 major European cities including Bratislava. As tradition has it, the winning motion picture will also be available in versions for the sight and hearing impaired.
One of the three filmmakers whose works made the final selection is Leyla Bouzid, a young directress of Tunisian origin who graduated from the prestigious La Fémis in Paris and has continued to operate in the French-speaking environment. Her acclaimed debut, As I Open My Eyes (A peine j'ouvre les yeux, 2015), tackles issues related to cultural changes of her birthplace and her generation's views of life. Her film is a civil tale of a young female rebel who refuses to be crammed into roles prescribed by society. The story revolves around Farah, an unfettered frontwoman who tours night clubs with her music band. Her life choices inevitably meet with her parents' lack of understanding as her art clashes with strictures imposed by the rigid political regime. As I Open My Eyes paints a stunningly vivid picture of Tunisian society on the brink of a radical change.
Strikingly different is the heroine of one of the most popular motion pictures of this year's festival season, Toni Erdmann (2016) by German directress Maren Ade who serves her social criticism on the platter of comedy genre with an ample garnish of absurd undertones. In hopes of pursuing career in a supranational corporation, ambitious Ines gives up on her private life while slowly drifting away from home and her loved ones. Throwing a lifesaver is her freewheeling father whose unpredictable alter ego lent the film its name. Having been selected to represent Germany in vying for Best Foreign Language Film at upcoming Oscars, Toni Erdmann pithily caricatures the corporate world, its twisted rules and professional mumbo jumbo. The motion picture will certainly be delightful to watch for all those who have gone or are going through a similar work experience.
The last of the LUX Film Prize nominees is a Swiss-French animated film, My Life as a Courgette (Ma vie de Courgette, 2016), by director Claude Barras. The visually effective stop-motion animation is used here to serve the story of an orphaned boy who is trying to find its place in the sun. With the help of Raymond, a kind-hearted police officer, the child hero with an unusual nickname (Small Pumpkin) learns to trust people around him and eventually wins love of a new family.
In a separate section entitled Europa, the Bratislava film festival intends to present a selection of the best titles that have premiered over the past year and simultaneously expose the thematic and stylistic diversity of what is commonly labelled as European cinema. The festival-goers can look forward to seeing motion pictures decorated at prestigious film festivals around the globe, especially those that took place in the second half of the year. This selection will include fiction and documentary films that scored success at IFF in Karlovy Vary, Locarno, Venice or Toronto.
It's Not the Time of My Life
It's Not the Time of My Life (Ernellaék Farkaséknal, 2016) has all the makings to become one of the section's blockbusters. It was made by Szabolcs Hajdu, one of the shooting stars of the young Hungarian cinema who has become familiar among Slovak cinephiles thanks to his previous films such as White Palms, Bibliothèque Pascal or Mirage. In his latest motion picture, Hajdu who also plays one of the main characters supported, among others, by his wife and two children brilliantly spins an intimate psychological drama focusing on blood, marital and parental relations against the backdrop of a single apartment the camera or the cast never leave for a second. In terms of directorial skill, the film follows in the best footsteps of American independent cinema while psychological miniatures draw it to the orbit of Ingmar Bergman. It snatched the Crystal Globe along with the best male performance award at the Karlovy Vary IFF. Coming to present the film at the Bratislava film festival is a numerous delegation that will include the director and his film and life partner, Orsolya TörökIllyés.
As I Open My Eyes It's not The Time of My Life My Life as a Zucchini Toni Erdmann
Angela Ramsay
GLORY and THE EAGLE HUNTRESS Win Top Awards at Hamptons International Film Festival


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Q: What is the client install footprint for Silverlight 3? Just read some posts about how wonderful Silverlight 3.0 is, including that it uses some variant of WPF. That set off a warning flag.
If I'm installing Silverlight on the client and I've got, say Win XP SP2 (which is the minimum supported), how large would the runtime download be, including all dependencies?
(In the past I've had a MS .net product manager tell me a .net 2.0 app was just an xcopy. He forgot to mention that this was assuming that you'd already installed the 22 MB runtime).

A: The total download size 4.69MB for Windows, 8.7MB for Mac. No other dependencies. I believe they may expand once they're downloaded.
Note that the developer runtimes are (of course) larger.


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You are here: Home / Home / Technology / Can Airports Handle Flight Disruptions any Better?
Every once in a while we see hordes of airline passengers having to wait for hours at a time at airports because of some kind of disruption. Whether it's caused by volcanic eruptions, extreme weather conditions or industrial action it can be extremely unpleasant for those involved. It's a sad fact that some of these people vow never to fly again, purely because they don't want to take the chance of suffering similar difficulties in the future.
For the managers and staff members of the airports themselves, a sudden influx of thousands of passengers coming in, combined with very few of them leaving, can be exceptionally difficult to deal with. In many cases, it's not the fault of the airports at all, yet it's their people that have to cope with vast numbers of tired, uncomfortable and downright angry travellers who aren't able to do any travelling.
Anyone who has ever had a flight cancelled at short notice will know how frustrating it can be, but when dozens or even hundreds are postponed it can become a seething, irritable melting-pot of emotions. For workers who have to liaise with passengers, it's something of a no-win situation, and it's one that can even lead to the police having to be called in to quell the levels of disorder.
There are some people who claim the airports, and perhaps the airline companies as well, could do more to keep people calm and relaxed, but it's difficult to imagine what that would entail. They often provide free water, for example, and perhaps newspapers for those who want to read, but what else can they do? It's not easy to keep huge numbers of frustrated individuals happy at the best of times, but when they're missing out on their holiday time it can be almost impossible.
One thing that can and should be done is the provision of honest and accurate information. A heavy period of snowfall in the UK in 2011 resulted in train cancellations in all areas, and the one thing the passengers all agreed on was that not enough information was forthcoming. They could understand the travel restrictions, but they hated not knowing what was being done about them. Airline and airport proprietors will do well to bear this in mind.
Making regular announcements over the public address system will cut down on harmful gossip, for example, and will ensure passengers are aware that the proprietors have their interests in mind. Until normal service is resumed once again, information is the most vital tool of all.
David Rice is a regular air traveller from the UK. He works for a car hire company.


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Steven T. Cheng
Garden City, Long Island, NY
New York Bar Association
Steven T. Cheng is an Associate in the Corporate Department at Meyer, Suozzi, English & Klein, P.C. Mr. Cheng focuses his practice on general corporate law, mergers and acquisitions, corporate finance, and other business and financial transactions. He represents corporations, limited liability companies and partnerships, from startups to established companies, on a variety of matters, including, structuring, drafting and negotiating transactions, corporate governance, securities offerings, and their day-to-day operations. Mr. Cheng also represents issuers, lenders and borrowers in their funding activities, including joint ventures, equity investments, and debt financings.
Notable experience includes:
Represented a transnational pharmaceutical company in connection with its acquisition of a privately-held pharmaceutical company.
Represented a publicly-traded medical device company in connection with its participation as lead investor in a venture capital financing and the grant to the public company of an option to acquire the private company based on future milestones.
Represented a NYSE-listed company and its subsidiary in the acquisition of a mortgage origination business in a Section 363 bankruptcy sale.
Represented a US-subsidiary of an AIM-listed information technology company in its strategic acquisition of a US information technology and support services company.
Represented an international medical device company in several rounds of debt financing from venture capital firms.
Represented private investors in connection with multiple private equity and debt transactions.
Prior to joining the firm, Mr. Cheng was a corporate associate at an international law firm.


Sorry, got in summer camp mode there for a minute. Apparently a far-too-enthusiastic clown camp of some sort. Sorry about that.
Things are great here at Camp NaNo… at least, the part in my head. In there it's all pleasantly cool breezes off the lake and clear sunsets just before campfire and s'more time, with writing and horseback riding in between activities.
Outside of my head, not so much.
Both of the kids have been sick for a week with a nasty head cold and occasional fever. We're constantly battling over nose wipings and medicine takings, and nights have been rotten. Also, and I don't want to perpetuate a stereotype here, but they both have what is generally known as "the man cold." I'm needed at all times, which doesn't leave a lot of time for writing.
I'm still hovering around 2,000 words. Not great.
But the week hasn't been all bad, not by a long shot. I'm grateful that I've (thus far) escaped with only a slight stuffy nose and a few headaches. I had one day where we got out of the house and to the dollar store and Walmart, and it shall go down in history as "the day I got those super pretty notebooks." That was the same day my paperback copy of the Deptford Trilogy came in the mail, and my sponsor goodies for camp. SWEET!
Even better, the wonderful Jae at Lit and Scribbles featured me/this blog on Wednesday. Isn't that nice? I'm very excited to see who else she's got lined up to talk to this month– you should go check it out, too! New friends are always fun.
I guess that's about all I have to report for the week. Almost done "final" (oh, it is to laugh!) revisions to chapter 6 and 7 of Bound, and I may have found the perfect critique partner if she decides to stick with me. The other new project still insists on bouncing around in my head, but that's OK- I've got these new notebooks handy so I can brain-vomit the ideas out fairly quickly.
So far next week's looking pretty quiet around here, but I have a few posts scheduled (one featuring many immoral things you don't want to hear about). Don't go too far, though; if anything interesting happens, or if I really need to procrastinate, I'll be around.
Have a great weekend, everyone! Anybody got big plans?
This entry was posted on Friday, April 5th, 2013 at 7:05 am	and tagged with camp nanowrimo and posted in blogs, Family, NaNoWriMo, writing.	You can follow any responses to this entry through the RSS 2.0 feed.
Those are some sweet notebooks. More Camp NaNoWriMo for me this weekend, maybe some time at the park with my toddler if the weather is nice.
That sounds like an amazing weekend! What's the weather usually like this time of year where you live? We're still cold (will be until June, ugh), and always unpredictable.
Aren't they pretty? I usually prefer them with coil bindings so they'll lay flat, but I couldn't pass these up.
I'm really curious to know what 'nanowrimo' is exactly? Living in the UK as far as I know we don't have it, hence the confusion.
Camp NaNoWriMo is basically NaNo light. Lite? This year they're letting you set your own word-count goal, and it feels more relaxed. Still a good way to meet other writers and get those words out, though.
Love those notebooks! And I read the post featuring you! So exciting! Keep going, Kate! You can rock this novel!


Instead of lyrics, Comedy Karaoke offers a favored comic's monologue for visitors to try stand-up.
Lifelike holograms of stand-up artists present comedy and education.
Touching the interactive wall in the background creates a web of comics who influenced each other. In the foreground, placing a prop — such as a rubber chicken — on an interactive table triggers famous sketches involving the item.
The $50 million National Comedy Center in Jamestown, New York, opened its doors in August.
Visitors read jokes to provoke laughter from each other. Facial-recognition technology detects the smallest smile and scores points in Laugh Battle.
Take a mental health day and head a couple of hours east to the new $50 million National Comedy Center in Jamestown, New York. As you trek through three buildings, totalling 37,000 square feet, you'll laugh away stress and return home emotionally lighter.
Drop preconceived notions about the small town of Jamestown. Forget what you know about museums as staid collections of artifacts and video. Despite its smaller size, this place rivals Cleveland's Rock & Roll Hall of Fame and Museum for impact. The interactive technology is so cutting-edge that other national museums are studying it for ideas.
Shame on us for arriving with preconceived notions. We thought we'd breeze through 50 or so exhibits in an hour or two, grab lunch nearby and drive home. Four hours later, we got a $10 parking ticket because we stalled for one more joke. (It was just five minutes, officer, please.) We'll go back to see more another day.
Admission includes a wristband with an radio-frequency identification chip. A lobby kiosk scans the chip, and you build a humor profile — kind of like a Pandora music profile — by selecting favorite comedians and TV/movie icons. This profile drives your museum experience.
That means my mom — who dislikes profanity — would experience the museum differently from how I would. For example, when I scan my wristband at an interactive monologue screen, "Saturday Night Live" cast member Leslie Jones might appear shouting jokes about orgasms, while Mom may see comedian Gabriel Iglesias doing his signature "puffy" jokes about weight.
On a random Wednesday, my partner and I started in the Hologram Theater, a comedy club replica with cocktail tables and red-upholstered theater seating. There, a lifelike hologram of funnyman Jim Gaffigan talks about the evolution of a comic and demonstrates with various holograms of his younger self.
Just outside that lounge is Jerry Seinfeld's white, ruffled puffy shirt from a 1993 episode of TV's "Seinfeld." In another corner, Conehead helmets — from 1970s "Saturday Night Live" sketches about an alien family — conjure memories and smiles. Artifacts abound but don't overwhelm. Most exhibits require participation — from video screens to manipulative objects.
We wimped out on Comedy Karaoke but participated in Laugh Battle. In the latter, we faced each other and read custom jokes. Whoever laughed the most lost. We tied, although I must admit he was funnier.
Control freaks might be a disconcerted by the lack of linear progression as you wander the three connected buildings in any order. This free-range layout is a bonus on crowded days. Simply find your flow.
One of the best parts of my flow was watching stand-up comedians including Margaret Cho, Paula Poundstone, Richard Lewis and Jeff Foxworthy explain their creative processes. As a writer, I'm fascinated by how others build their words into something meaningful.
While I was taking in the video, a cocktail waitress balancing a round tray suggested a glass of wine or a local beer. Yes, the museum has a liquor license, and adult beverages — in lidded containers — are available throughout.
While experiencing funny folks from Charlie Chaplin to Johnny Carson to modern meme writers, we were giggling as we learned about the art of comedy and its role in U.S. culture. For example, comics such as Lenny Bruce, George Carlin and their successors — found downstairs in the adults-only Blue Room — challenged freedom of expression and helped define First Amendment rights in the 1960s. Millennials may not be aware that Bruce was jailed more than once for profanity that wouldn't raise an eyebrow at today's stand-up shows.
Making Jamestown the home of a National Comedy Center was the vision of the hometown comedic genius Lucille Ball. The star of "I Love Lucy" and founder of Desilu Studios, Ball wanted to see a national-scale museum there to honor the art of comedy. The idea took 30 years to reality, but she'd be proud.
While we were in town, we walked two blocks to the Lucille Ball Desi Arnaz Museum to reminisce over props, costumes and replica studio sets. This is a must-see while in town.
The National Comedy Center is close enough for a day trip but more relaxing as an overnight adventure. We stayed at the brand new Chautauqua Harbor Hotel, where, in the lobby, we previewed satellite exhibits from the comedy center. Opened in September, the 135-room grand hotel sits on the shores of Lake Chautauqua and offers panoramic lake views from its restaurant, lounge and many of the guest rooms. A comfortable bar and elevated dining experience punctuate the visit. In warm months, the dining scene spills outside to the Carousel Bar. The hotel is just four miles from the comedy center.
In Jamestown, our Comedy Center visit took much of the day. Around noon, we left the complex for an hour and grabbed a bowl of gumbo at The Pub, just two blocks away. It can best be described as a busy, locals spot with the friendliness of television's Cheers and good food. Stay tuned, the Jamestown Brewery is scheduled to open nearby in early 2019.
Chautauqua Harbor Hotel: 10 Dunham Ave. Celoron, New York, 716-489-2800, thechautauquaharborhotel.com.
Lucille Ball Desi Arnaz Museum: 2 W. Third St., 716-484-0800, lucy-desi.com.
The National Comedy Center: 203 W. Second St., Jamestown, New York, 716-484-2222, comedycenter.org.
The Pub: 209 N. Main St., Jamestown, New York, 716-488-6036, thepubjamestown.com.


Rohtak: Railway Minister Suresh Prabhu flagged off 17 Advance Life Support (ALS) ambulances here which have been provided to the Haryana Health Department under MPLAD fund.
These ambulances, equipped with modern equipment and costing a total of Rs 3.5 crore, would serve patients in far-flung areas, thereby strengthening healthcare services in the state, he said.
The ambulances are for Ambala City, Bhiwani, Faridabad, Gurugram, Hisar, Jind, Kurukshetra, Kaithal, Panchkula, Jhajjar, Sonipat, SHKM Medical College, Mewat, Kalpana Chawla Medical College, Karnal, Maharaja Agarsen Medical College, Hissar, and three ambulances for Pt. Bhagwat Dayal Sharma Post Graduate Institute of Medical Sciences, Rohtak, Prabhu said.
These ambulances have been provided to the state health department under MPLAD fund, an official release said.
Speaking on the occasion, Chief Minister Manohar Lal Khattar said the state government is focusing on opening medical colleges in every district to increase the number of doctors in the state.
This would help in preparing about 2,000 doctors every year. These medical institutes would be set up either by the government or in public-private-partnership mode, he said, adding his government is making concerted efforts to strengthen infrastructure of the health sector in Haryana.


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Road Not Taken Begins Its PlayStation 4 Journey On August 6th
Aran Suddi 25/06/14 Comments Closed
Spry Fox has announced the release date for puzzler title Road Not Taken as August 6th on PS4, while a Vita version is set to be available in late Autumn. The trailer above shows glimpses of gameplay while being advertised in a very 90's way, which I thoroughly enjoyed. The game itself has been inspired by the poet Robert Frost and his poem, which is also called Road Not Taken. The poem explores the themes of taking paths in life, and what affect it can on a person.
Spry Games has taken that theme to hear in Road Not Taken, and it will explore the same thing by pushing players onto various paths, which will have differences on each playthrough. The studio has also stated that players will die a lot because of the different challenges that could catch them off guard, including wild animals and barriers that appear impassable.
Source: PS Blog
Tags: Road Not Taken
The Road Not Taken Update Adds Ninja Bears And New Modes
News Snatch: InFamous Second Son, Minecraft PS3 And Trophy Errors
Road Not Taken Coming To PS4, Vita


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Joao Goncalo Cunha
Author: Joao Goncalo Cunha
OPINION, SPORTS 28th January 2023
Are you looking for an athlete that takes his career to the next level? Look no further than Virat Kohli. Not only is he one of the most successful athletes in the world, but also a savvy businessman. As the only Indian athlete to rank on Forbes list of highest-paid athletes (with an estimated net worth […]
The International Cricket Council has announced a new long-term deal with Sky Sports as the home of ICC cricket in the United Kingdom and Ireland through to the end of 2031, and for the first time there will be a direct contractual relationship between the two organisations. Beginning in 2024, the partnership will see […]
BRANDS, SPORTS 25th January 2023 25th January 2023
The BCCI has announced the the sale of five teams in the inaugural Women's Premier League (WPL) with Adani Sportsline shelling out a massive ₹1,289 crore for the Ahmedabad team, which emerged the most expensive franchise. BCCI pocketed in a whopping ₹4,669.99 crore. IPL team owners Mumbai Indians, Royal Challengers Bangalore and Delhi Capitals […]
Charity MVPs: How athletes are using their influence to make a difference
BRANDS, OPINION, SPORTS 23rd January 2023
With a growing number of athlete philanthropists, some have taken the next step and started their own foundations or charitable organizations. This trend has been seen in the US and other countries, where athletes are using their influence and resources to make a difference. It's a combination of factors that brings up this reality: One […]


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using System;

namespace Azure.Search.Documents.Indexes.Models
{
    /// <summary> Defines a data change detection policy that captures changes based on the value of a high water mark column. </summary>
    public partial class HighWaterMarkChangeDetectionPolicy : DataChangeDetectionPolicy
    {
        /// <summary> Initializes a new instance of HighWaterMarkChangeDetectionPolicy. </summary>
        /// <param name="highWaterMarkColumnName"> The name of the high water mark column. </param>
        /// <exception cref="ArgumentNullException"> <paramref name="highWaterMarkColumnName"/> is null. </exception>
        public HighWaterMarkChangeDetectionPolicy(string highWaterMarkColumnName)
        {
            if (highWaterMarkColumnName == null)
            {
                throw new ArgumentNullException(nameof(highWaterMarkColumnName));
            }

            HighWaterMarkColumnName = highWaterMarkColumnName;
            ODataType = "#Microsoft.Azure.Search.HighWaterMarkChangeDetectionPolicy";
        }

        /// <summary> Initializes a new instance of HighWaterMarkChangeDetectionPolicy. </summary>
        /// <param name="oDataType"> Identifies the concrete type of the data change detection policy. </param>
        /// <param name="highWaterMarkColumnName"> The name of the high water mark column. </param>
        internal HighWaterMarkChangeDetectionPolicy(string oDataType, string highWaterMarkColumnName) : base(oDataType)
        {
            HighWaterMarkColumnName = highWaterMarkColumnName;
            ODataType = oDataType ?? "#Microsoft.Azure.Search.HighWaterMarkChangeDetectionPolicy";
        }

        /// <summary> The name of the high water mark column. </summary>
        public string HighWaterMarkColumnName { get; set; }
    }
}


Case description The casework of this organ, designed by Clifton in the Gothic style, resembling the work of A.G. Hill in Britain, is of considerable distinction, with carved pipeshades, cresting and projecting V tower. The spotted metal pipework was manufactured by George Fincham & Son.
Dates of any moves that have taken place to current organ Removed to the North Perth Congregational Church by J.E. Dodd; the instrument was opened on 22 December 1946 by Dr C. Edgar Ford.
Removed by F.J. Larner and Co. in 1976 and relocated with several alterations to St Alban's Church.
Technical documents Details of the organ from OHTA Conference Book 2004.
Supporting information Additional information about Robert Cecil Clifton can be found in the Leon D. Cohen book, Gathered Fragments: the Biography of Robert Cecil Clifton, I.S.O. 1854–1931.
This entry D B Duncan 17 January 2009.