Alice Carter is an artist, illustrator, and storyteller with a passion for sharing her whimsical imagination. A graduate of the Ontario College of Art and Design who now works with clients from all over the world, Alice is inspired by people watching, music, and every animal she comes across. Her first two picture books are Angus All Aglow and Our New Kittens. Alice lives in Ottawa, Ontario.


text:
Sergei PROKOFIEV (1891-1953)
Violin Concerto No.1 in D major Op.19 [20.49]
Violin Concerto No.2 in G major Op.63 [26.30]
Sonata in D major for solo violin Op.115 [11.49]
Vadim Gluzman (violin), Estonian National Symphony Orchestra/Neeme Järvi
rec. Estonia Concert Hall, Tallinn, Estonia, July 2015 (No.1), May 2014 (No.2), Sendesaal Bremen, Germany, July 2015 (Sonata)
Reviewed in surround
BIS BIS-2142 SACD [60.21]
A quite extraordinarily good disc. The performances are exemplary in every respect and the recordings are absolutely beautiful too. I had to go back and revisit this issue after a few days to check that it really was as good as I thought - it is!
Vadim Gluzman takes a lyrical view of these pieces compared to the likes of Heifetz in the 2nd Concerto, but it is just as valid as any other. There is plenty of evidence from the time of the first performances that both concerti were viewed as lyrical as much as dramatic. The liner notes mention Oistrakh being attracted to the cantabile themes in the 1st Concerto, and of audience members at the US premiere being moved to tears by the slow movement of No.2. All this emotional reaction is quite understandable; these are among the most beautiful of 20th Century violin concertos and have attracted the attention of all the top virtuosi. Listeners to this disc who own other performances may notice that the orchestra is a little recessed, so that details do not tell as they sometimes do. However, in a concert performance this is often the case, unless one is very close to the platform, and this seems to be the view taken by the engineers who give us a centre-of-the-front-stalls perspective. The recording venue appears to be a classic shoe box hall and certainly it endows this recording with a spacious but clean and clear acoustic space. There is no instrumental spotlighting in the final mix so, whilst Prokofiev's delicate use of the percussion is there, it never jumps out at the listener. The down side is that the orchestra does not get much opportunity to show off its skills. During the moments where the violin stops - and there are not many of these - it is evident that Neeme Järvi and the Estonian NSO are very much at one with the soloist. The liner notes by Horst Scholz are thorough and well written. I do hope the violinist was looking where he was going when the unappealing cover photo was taken: it looks like the sort of place where his violin might go missing.
In the lovely Sonata for solo violin, Gluzman has our undivided attention. He is recorded, this time, in Bremen's small recording hall, which appears to be a rather lovely wood-lined space. It is a nice acoustic and Gluzman seems to be placed at a moderate distance in front of the listener. The piece was written for violins in unison and was intended as a teaching vehicle. In common with other such works by great composers (Bartók's Mikrokosmos for instance) it is far more than that and Gluzman gives a committed performance. Incidentally there is another splendid SACD of this piece on the erratically available Caro Mitis label, played by Mikhail Tsinman.
Dave Billinge

redpajama_set_name: RedPajamaCommonCrawl


text:
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use yii\grid\GridView;
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/* @var $dataProvider yii\data\ActiveDataProvider */
?>

Биллинг

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                'content' => function($data){
                    if($data->type == 1){
                        return '' . $data->typename . '';
                    }
                    return '' . $data->typename . '';
                }
            ],
            'description',
            'value',

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        ],
    ]); ?>

redpajama_set_name: RedPajamaGithub


A pair of tiny gold sand dollar earrings with .9mm blue faceted diamond centers. Each 10k solid gold sand dollar measures approx 1/2" (1.3 cm) in diameter and has solid 14k gold ear posts and backings. Available as a pair only.
Lovely little Mermaid Coins for your ears!


South Africa is a melting pot of cultures and all of these influence food traditions and styles of cooking. And for culinary tourists and everyone interested in food culture, Leopard's Leap offers a South African Food Experience of note.
Join Chef Pieter de Jager for an introduction to the diversity which is South African cuisine. Learn about the homely food of the townships, understand the use of fragrant spices in curries and enjoy the unique combination of sweet, sour and savoury in traditional dishes as well as the innovative use of seasonal fruit in chutneys and sambals.
Cooking Demonstrations presented by Chef Pieter de Jager, followed by a tasting lunch of all the dishes paired with the popular wines of Leopard's Leap including the award-winning Culinaria Collection. Cooking demonstration with lunch and wine costs R350 per person.
Hands-on Cooking Classes with Chef Pieter de Jager in the state-of-the-art Leopard's Leap kitchen followed by a tasting meal of the dishes prepared, paired with wines from Leopard's Leap as well as its Culinaria Collection. Hands-on cooking class with meal and wine costs R650 per person.
Food and Wine Pairings at the hand of 6 representations of the typical flavours of South African cuisine with 6 wines from Leopard's Leap's Culinaria Collection, developed exclusively to be exceptional partners to food. This South African Food and Wine Pairing will also be presented on every first Friday of the month, replacing the regular Culinaria Food and Wine Pairing. The pairing is presented by Chef Pieter de Jager and Experience Manager, Wouter Hanekom. R120 per person.
Guests will be able to experience the energy and diversity of South Africa with an array of dishes that reflects regionality and culture. Examples of dishes to expect (although they will change according to season and availability) include homely township staples such as pap, marog and chakalaka, robust Durbun curry and mango atchar, marrowbones from the Karoo, smoked West Coast snoek, venison, slaphakskeentjies, caramelised sweet potatoes and classic South African desserts such as melktert, malva pudding and koeksisters.
Guests are invited to learn the story behind favourites such as biltong, droëwors, boerewors and kaiings before leaving armed with a wealth of knowledge and recipes to enjoy a taste of South Africa, even when they are back home.
Please note that a minimum of 10 people per session is required when booking an exclusive Cooking demonstration, Hands-on Cooking Class or Food and Wine Pairing.
For more information on Leopard's Leap, its wines and programme of cooking classes, kindly visit www.leopardsleap.co.za or contact Liné Smit at ls.marketing@leopardsleap.co.za or +27 (0)21 876 8843.


text:
package expr

import "testing"

func TestPrimitiveHash(t *testing.T) {
	cases := map[string]Primitive{
		"boolean": Boolean,
		"int":     Int,
		"int32":   Int32,
		"int64":   Int64,
		"uint":    UInt,
		"uint32":  UInt32,
		"uint64":  UInt64,
		"float32": Float32,
		"float64": Float64,
		"string":  String,
		"bytes":   Bytes,
		"any":     Any,
	}
	for k, p := range cases {
		if actual := Hash(p, true, false, false); k != actual {
			t.Errorf("%s: got %#v, expected %#v", k, actual, k)
		}
		if actual := Hash(p, true, false, true); k != actual {
			t.Errorf("%s: got %#v, expected %#v", k, actual, k)
		}
		if actual := Hash(p, true, true, false); k != actual {
			t.Errorf("%s: got %#v, expected %#v", k, actual, k)
		}
		if actual := Hash(p, true, true, true); k != actual {
			t.Errorf("%s: got %#v, expected %#v", k, actual, k)
		}
		if actual := Hash(p, false, false, false); k != actual {
			t.Errorf("%s: got %#v, expected %#v", k, actual, k)
		}
		if actual := Hash(p, false, false, true); k != actual {
			t.Errorf("%s: got %#v, expected %#v", k, actual, k)
		}
		if actual := Hash(p, false, true, false); k != actual {
			t.Errorf("%s: got %#v, expected %#v", k, actual, k)
		}
		if actual := Hash(p, false, true, true); k != actual {
			t.Errorf("%s: got %#v, expected %#v", k, actual, k)
		}
	}
}

func TestObjectHash(t *testing.T) {
	var (
		attributeInt            = &AttributeExpr{Type: Int}
		attributeString         = &AttributeExpr{Type: String}
		attributeArray          = &AttributeExpr{Type: &Array{ElemType: attributeString}}
		attributeMap            = &AttributeExpr{Type: &Map{KeyType: attributeInt, ElemType: attributeString}}
		userType                = &UserTypeExpr{AttributeExpr: attributeString, TypeName: "ut"}
		namedAttributePrimitive = &NamedAttributeExpr{Name: "foo", Attribute: attributeInt}
		namedAttributeArray     = &NamedAttributeExpr{Name: "bar", Attribute: attributeArray}
		namedAttributeMap       = &NamedAttributeExpr{Name: "baz", Attribute: attributeMap}
		namedAttributeUserType  = &NamedAttributeExpr{Name: "quux", Attribute: &AttributeExpr{Type: userType}}
		attributeUnion          = &AttributeExpr{Type: &Union{TypeName: "quuuux", Values: []*NamedAttributeExpr{namedAttributePrimitive}}}
		namedAttributeUnion     = &NamedAttributeExpr{Name: "qux", Attribute: attributeUnion}
	)
	cases := map[string]struct {
		object   Object
		expected string
	}{
		"nil": {
			object:   nil,
			expected: "_o_",
		},
		"single attribute": {
			object:   Object{namedAttributePrimitive},
			expected: "_o_-foo/int",
		},
		"multiple attributes": {
			object: Object{
				namedAttributePrimitive,
				namedAttributeArray,
				namedAttributeMap,
				namedAttributeUnion,
				namedAttributeUserType,
			},
			expected: "_o_-bar/_a_string-baz/_m_int:string-foo/int-quux/_t_ut-qux/_u_quuuux_*_foo_|_int",
		},
	}

	for k, tc := range cases {
		t.Run(k, func(t *testing.T) {
			if actual := Hash(&tc.object, true, false, true); actual != tc.expected {
				t.Errorf("got %#v, expected %#v", actual, tc.expected)
			}
		})
	}
}


text:
Jordan: Petra & Wadi Rumm
Petra Bab as-Siq & the "Treasury" Street of Facades, Royal Tombs & City Ruins
Jabal al-Najr - The High Place of Sacrifice Ad Deir - The "Monastery" Wadi Rumm
Having made a very brief visit to Petra several years before, in unbelievably cold conditions, we were so amazed that we knew we had to return. In 2000 we came back to spend 3 days exploring this incredible place and making a trip to the desert of Wadi Rumm.
Taybet Zaman
The earliest settlement at Petra is probably around 7000BC. In the Iron Age, 1200 - 300 BC, the area was known as Edom and there were certainly Bronze Age people here called Horites (Deut. 2:12,22) hunters who lived in caves. The Book of Job describes splendid tombs, great wealth, gold, silver and ancient treasures. The Petrans were known as keen gardeners, cutting irrigation channels through the rock.
At the death of Alexander Petra was sandwiched between the territory of two of the three generals who carved up the empire - these were Seleucus who founded the Seleucid dynasty in Syria, and Ptolemy, founding the Ptolomeic dynasty in Egypt. After around 100 BC both these dynastic empires declined and Petra began to flourish, gradually extending its dominion into the Negev, east to the Euphrates and south along the Red Sea.
One morning at breakfast one of the staff was picking figs from the trees in the garden below our table - he brought me a dish of them, they were gorgeous!
The Petrans became wealthy providing safe passage for the caravans plying the various trade routes which passed through their domain.
Our rooms at Taybet Zaman.
We flew into Amman very late at night and were met by a driver to take us to our hotel near Petra. This was a rather scary drive - we discovered that this was the driver's fifth such journey of the day and he looked in danger of falling asleep, when he wasn't eating, drinking or trying to get his mobile to work. We talked to him as best we could to try and avoid disaster!
Our hotel was wonderful: Taybet Zaman - one of my all time favourites. It is a village which has been completely converted to a hotel. Guests stay in the village houses and ours was superb - a living room with deep sofas, marble bathroom and huge bedroom. Beautiful, comfortable and air-conditioned. A wonderful place to stay. We did most of our exploring in the mornings and spent the afternoon by the pool - introducing the locals to an eastern version of a chip butty - fries in pitta bread!
We took the shuttle bus to Petra and bought a three day ticket at the new Tourist Office at the entrance. We got there as early as possible each day and left around mid-day or earlier, if we could, as the walk out can get tremendously hot.
Bab as-Siq & "Treasury"
The siq gorge.
The tombs and temples carved in to the rock, for which Petra is justly famous, are the work of the Nabateans over 2000 years ago. It was unknown to the western world until 1812 when Johann Ludwig Burckhardt, a Swiss explorer, rediscovered it, and John William Burgon immortalised it as a "rose-red city half as old as time itself".
The main entrance to the site is through the siq - a defile of fantastic high cliffs, narrow in places, over 1km in length, itself with many remains including the lovely obelisk tomb which leads to the most atmospheric view o al-Khazneh (the so-called "Treasury" for the legend that the urn contains the pharaoh's treasure).
Street of Facades, Royal Tombs & City Ruins
Exiting the siq and turning north the main route through Petra extends for about 1km and takes a good few hours to explore thoroughly.
Street of Facades
The street of facades, on the left after the Treasury, are four levels or "streets" of over forty tombs carved out of the cliff face followed by the Greek-style theatre which could seat upto 8500 people.
The colours in the rocks are very beautiful and are due to the presence of iron oxide, carried by water. Shades range from deepest red to yellow with deep pink and white striations.
Further along on the right and raised above the street are the so-called Royal Tombs: Urn, Silk, Corinthian, Palace and Tomb of Sextus Florentius. It is uncertain whether these were actually tombs or temples - or even homes!
Silk Tomb
Urn Tomb
Palace Tomb & Corinthian Tomb
Qasr al-Bint Faroun or Castle of the Pharaoh's daughter at the west end of the Cardo Maximus. Remains of an impressive free-standing Roman temple which dates from around the time of Christ.
Opposite the Royal Tombs the street takes a sharp turn into the City Ruins on the Cardo Maximus. This colonnaded street was built by the Romans after their conquest in 106AD.
Cardo Maximus looking back to the Royal Tombs.
This area to us was the least interesting - there are far better Roman remains elsewhere.
Jabal al-Najr - the High Place of Sacrifice
Climbing up to the High Place of Sacrifice.
We had come up behind the rocks on the right and descended the Nabatean rock-cut steps before beginning to climb again.
Sacred pillars.
My absolutely favourite spot in Petra. Not too difficult a climb if you're reasonably fit.
The Nabateans used this route to reach the High Place; where the going was difficult they carved steps from the rock.
Jabal al-Najr occupies a double summit. The lower summit has been levelled by the Nabateans to leave two 7m pillars of stone. These are the sacred pillars representing the male and female Nabatean deities Dushara the god of strength and Al-Uzza the goddess of water and fertility.1 A huge amount of rock has been shifted to leave these imposing obelisks standing on a wide flat terrace.
Could this large pit, carved out of the rock, once have been used as a ritual bath for cleansing before the ceremonies?
The actual summit, the place of sacrifice, is quite a small area and it doesn't have an obvious route onto it - a bit of a scramble but well worth it. It's very atmospheric - the only ritual sacrificial place of this type we've seen to date.
The Altar.
Drainage channels run from the top of the altar down the steps to a wider channel in the platform.
The shallow stone in front of the altar was probably used to present bloodless offerings.
The drain from the main altar, cut into the platform to take away the blood from animal sacrifices, is clearly visible in the centre foreground to the right of this stone. Whether human sacrifice was practiced here is not certain.
The altar, where sacrifices were made, remains intact, as well as a shallow stone in front of it for bloodless offerings such as edible produce and precious objects. All of the features were carved from the top down out of the original rock and are therefore not free-standing.
The four shallow steps lead up to the main altar. The raised area in the background, also reached by steps, has two concentric indentations, the inner indentation having a drainage channel through the rock.
The views from the High Place of Sacrifice are immense.
In a very harsh landscape plants manage to survive.
From the top and on the walk down via Wadi Farasa there are wonderful views both down into Petra and out into the wider landscape.
The Roman Soldier's Tomb.
An almost-Biblical scene.
The Triclinium
Interior of the Triclinium.
The Triclinium opposite the Roman Soldier's tomb has the only carved interior in Petra and is very intensely coloured.
The Roman Soldier's Tomb
Ad Deir - the "Monastery"
To the "Monastery".
The Lion Triclinium on the way to Ed Deir - there are rather weathered carvings of lions either side of the entrance at ground level.
A more strenuous climb is to the Monastery. It is quite steep in places and involves climbing hundreds of steps. Some people went up on donkeys and I did feel sorry for the poor animals as some of the tourists were quite hefty.
The climb itself provides wonderful views and has other sites along the way, such as the Lion Triclinium.
The stone carving remains crisp. Within the alcoves are carved reliefs of columns and the discs below the pediments are still very sharply outlined
Ad Deir
The view that greets you when you finally exit the narrow rock corridor into the courtyard in front of Ed Deir is astonishing. Measuring 45m by 50m this is the largest facade in Petra and the building is thought to have been a temple. the area in front has been levelled and could accommodate a large crowd of people.
The descent.
Wadi Rumm
Forever associated with T.E. Lawrence and his campaigns in the First World War, a visit to Wadi Rumm was, for us, essential. Lawrence was travelling through this area to make attacks on the railway line south of Maan to draw Turkish troops into its defence and thus leave fewer for attacks elsewhere.
A spring located here was probably visited by T.E. Lawrence.
A natural rock arch deep in the quiet desert of Wadi Rumm.
Khaz'ali Gorge
The rocks of Khaz'ali Gorge are the most beautiful deep colour.
We hired a car to take us there and then a driver to take us deep into the desert.
Supposedly Lawrence's house!
This is such an atmospheric place. We stopped several times to walk and experience the perfect silence of the desert - and once to push the jeep out of the sand!
The sand is deep red in places and your guide will obligingly point out Lawrence "landmarks" - the authenticity of some, such as "Lawrence's house" is questionable.
However, the springs are probably correct. Robert Graves describes the journey to Wadi Rumm in 1918:
"Towards sunset there was a break in the cliffs to the right, leading to water. They turned in here and found themselves in a vast oval amphitheatre floored with damp sand and dark shrubs. ... A little path zigzagged up to the ledge and there, three hundred feet above the level of the plain, jetted the water-springs."
Here they watered their camels.
National Geographic Mysteries of the Ancient World: Petra
The Insight Guide: Jordan and Petra - A Travellers' Guide by Rosalyn Maqsood were used on this visit.


text:
module Google
  module Ads
    module GoogleAds
      module V10
        module Services
          module AssetSetAssetService
            # Path helper methods for the AssetSetAssetService API.
            module Paths
              ##
              # Create a fully-qualified Asset resource string.
              #
              # The resource will be in the following format:
              #
              # `customers/{customer_id}/assets/{asset_id}`
              #
              # @param customer_id [String]
              # @param asset_id [String]
              #
              # @return [::String]
              def asset_path customer_id:, asset_id:
                raise ::ArgumentError, "customer_id cannot contain /" if customer_id.to_s.include? "/"

                "customers/#{customer_id}/assets/#{asset_id}"
              end

              ##
              # Create a fully-qualified AssetSet resource string.
              #
              # The resource will be in the following format:
              #
              # `customers/{customer_id}/assetSets/{asset_set_id}`
              #
              # @param customer_id [String]
              # @param asset_set_id [String]
              #
              # @return [::String]
              def asset_set_path customer_id:, asset_set_id:
                raise ::ArgumentError, "customer_id cannot contain /" if customer_id.to_s.include? "/"

                "customers/#{customer_id}/assetSets/#{asset_set_id}"
              end

              ##
              # Create a fully-qualified AssetSetAsset resource string.
              #
              # The resource will be in the following format:
              #
              # `customers/{customer_id}/assetSetAssets/{asset_set_id}~{asset_id}`
              #
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              def asset_set_asset_path customer_id:, asset_set_id:, asset_id:
                raise ::ArgumentError, "customer_id cannot contain /" if customer_id.to_s.include? "/"
                raise ::ArgumentError, "asset_set_id cannot contain /" if asset_set_id.to_s.include? "/"

                "customers/#{customer_id}/assetSetAssets/#{asset_set_id}~#{asset_id}"
              end

              extend self
            end
          end
        end
      end
    end
  end
end


Gatherings like the Legacy Conference are always approached with high expectations. Attendees invade the venue anticipating refreshing fellowship, healthy teaching and fire-kindling exhortation. This year's Legacy theme, Soli Deo Gloria, further cements these expectations with the goal of God receiving the glory alone. And on day 1 of Legacy Conference, He was lifted high.
Since tragedy and suffering struck Tedashii's family just months ago, countless CHH fans have been yearning just to hear their favorite rapper's voice. Maybe it's idealistic, but supporters undoubtedly clung to the hope that cheering just a little bit louder at his concert could potentially encourage him in some small way. But instead, Tedashii encouraged us. In the moment he most desperately needed the service of the Body, he chose to serve us.
After a brief song intro, he shut the music off and read 1 Corinthians 15:12-20. As silence acted as his soundtrack, he urged the audience to remember the reason they all came: "Christ really did rise from the dead". The celebration, teaching, fellowship and preaching climaxed in his emotionally stirring challenge. It felt as though the weight of suffering and the glory of God collided in a Romans 8:28-style fireworks show for the soul. And then, as if the moment could not get any more glorious, the crowd boisterously celebrated Tedashii's "legacy" of Christ-centered music with some of his most memorable songs.


text:
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NIS is open for any cooperation that is in line with the Company's criteria and values.
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Health and safety concerns, as well as the commitment to environmental protection, represent priorities at NIS.
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We provide students with the opportunity to gain their first hands-on experiences through the "NIS Calling" seasonal internship programme.
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For NIS, implementation of innovations represents one of the basic requirements for progress and development.
Youth Heroes Competition Awards Presented to Winners
The winners of the national Youth Heroes Competition for 2018 were chosen in four categories: Science and Education, Culture and Art, Entrepreneurship and Creative Industries, and Social Activism.
School of Future
In an exclusive article for NIS Magazine, his thoughts on the school of future shares Nikola Božić, the programme director at Petnica Research Centre, proudly supported by our company for entire decade.
Nature or plastic? It's your call!
In 1950, the production rate of plastic was 1.5 million tonnes a year, six decades later it is 407 million (t/y). The greater portion of produced plastic is disposed of which poses a direct threat not only to the environment but human health as well.
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The Puerto Princesa Underground River is expected to increase visitor numbers.
Zurich/Switzerland — As a result of participating in the New7Wonders of Nature, the Puerto Princesa Underground River is expected to increase visitor numbers by over 50 percent this year compared to 2008. And thanks to a new, forward-looking Enhanced Integrated Tourism Program, this increase will be carefully managed by the city of Puerto Princesa to benefit the environment, as well as visitors and locals.
In a recent article circulated by the Philippine Information Agency, the importance of using this growth to ensure sustainable tourism was underlined by several key players. Jamas Mendoza, Project Manager of the Puerto Princesa Subterranean National River, called the increase in visitors "remarkable".


Hybrids provide a solution that handles the associated variance in temperature and pressure.
Primarily used for road construction, flat roofing and as an adhesive, bitumen (asphalt) is a vital component of modern infrastructure.
Compact welded heat exchangers can perform the same duty as larger shell-and-tube units in a smaller footprint. In refinery applications where space is limited, compact welded heat exchangers provide advantages.
Refineries are constantly pushing to improve their processes in order to improve profitability. Because refining is such an energy-intensive process and many refineries are using outdated technology, there is room for improvement.
Using a hybrid heat exchanger that has tube on one side and plate on the other allowed a steel plant to handle corrosive media in a limited footprint.
Coal used in coke ovens gives off a high percentage of volatile, effluent gas that can be dried and conditioned, resulting in purified coke oven gas (COG). This byproduct gas provides a clean, environmentally friendly and valuable fuel source that can be used in many processes, including as fuel gas in the making of iron and steel.
Shell-and-tube heat exchangers are suited for instantaneous steam/water heat exchange, water-to-water heat exchange and tank heaters.
The company has extensive experience in the design and manufacturing process of shell-and-tube heat exchangers.
Designed as an upgrade over shell-and-tube, block-type welded and brazed aluminum heat exchangers, shell-and-plate welded heat exchangers offers high thermal performance with compact size, low holdup volume and low installed weight, especially when filled.
Tranter and Westinghouse have entered into a teaming agreement to develop a new modular shell-and-plate feedwater heater for use in the power industry.


text:
Q: Erro ao formatar número no php Eu tenho esté valor: 47830,60
Quero deixar assim 47.830,60. Para isso usei a função number_format assim:
number_format($valor,2,",",".");
mas me retorna este erro:

A non well formed numeric value encountered

Obs: tentei um cast float mas está zerando os centavos.

A: Solução:
<?php echo "R$ ".number_format(str_replace(',', '.', $valor),2,',','.'); ?>

Explicação:
Como meu valor inicial tem uma vírgula para separar os centavos, precisei usar o str_replace para trocar a vírgula por um ponto e deixar o valor assim: 47830.60. Com isso foi possível fazer o number_formar sem problemas.

redpajama_set_name: RedPajamaStackExchange


To provide original reporting and quality analysis on Australia and the world: such is the ambition of Inside Story, a news website lauched in October 2008. Edited from the Swinburne Institute of Social Research, near Melbourne, Inside Story gathers contributions from academics as well as correspondents from all over the world. It also appears as a bi-monthly pullout section published in the Canberra Times.


text:
/** \file
 * Defines the interface for an ANTLR3 common token stream. Custom token streams should create
 * one of these and then override any functions by installing their own pointers
 * to implement the various functions.
 */
#ifndef	_ANTLR3_TOKENSTREAM_H
#define	_ANTLR3_TOKENSTREAM_H

// [The "BSD licence"]
// Copyright (c) 2005-2009 Jim Idle, Temporal Wave LLC
// http://www.temporal-wave.com
// http://www.linkedin.com/in/jimidle
//
// All rights reserved.
//
// Redistribution and use in source and binary forms, with or without
// modification, are permitted provided that the following conditions
// are met:
// 1. Redistributions of source code must retain the above copyright
//    notice, this list of conditions and the following disclaimer.
// 2. Redistributions in binary form must reproduce the above copyright
//    notice, this list of conditions and the following disclaimer in the
//    documentation and/or other materials provided with the distribution.
// 3. The name of the author may not be used to endorse or promote products
//    derived from this software without specific prior written permission.
//
// THIS SOFTWARE IS PROVIDED BY THE AUTHOR ``AS IS'' AND ANY EXPRESS OR
// IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES
// OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED.
// IN NO EVENT SHALL THE AUTHOR BE LIABLE FOR ANY DIRECT, INDIRECT,
// INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT
// NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE,
// DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY
// THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT
// (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF
// THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

#include    <antlr3defs.h>
#include    <antlr3string.h>
#include    <antlr3collections.h>
#include    <antlr3input.h>
#include    <antlr3commontoken.h>
#include    <antlr3bitset.h>
#include	<antlr3debugeventlistener.h>

#ifdef __cplusplus
extern "C" {
#endif

/** Definition of a token source, which has a pointer to a function that
 *  returns the next token (using a token factory if it is going to be
 *  efficient) and a pointer to an ANTLR3_INPUT_STREAM. This is slightly
 *  different to the Java interface because we have no way to implement
 *  multiple interfaces without defining them in the interface structure
 *  or casting (void *), which is too convoluted.
 */
typedef struct ANTLR3_TOKEN_SOURCE_struct
{
    /** Pointer to a function that returns the next token in the stream.
     */
    pANTLR3_COMMON_TOKEN    (*nextToken)(struct ANTLR3_TOKEN_SOURCE_struct * tokenSource);

    /** Whoever is providing tokens, needs to provide a string factory too
     */
    pANTLR3_STRING_FACTORY  strFactory;

    /** A special pre-allocated token, which signifies End Of Tokens. Because this must
     *  be set up with the current input index and so on, we embed the structure and
     *  return the address of it. It is marked as factoryMade, so that it is never
     *  attempted to be freed.
     */
    ANTLR3_COMMON_TOKEN	    eofToken;

	/// A special pre-allocated token, which is returned by mTokens() if the
	/// lexer rule said to just skip the generated token altogether.
	/// Having this single token stops us wasting memory by have the token factory
	/// actually create something that we are going to SKIP(); anyway.
	///
	ANTLR3_COMMON_TOKEN		skipToken;

    /** Whatever is supplying the token source interface, needs a pointer to
     *  itself so that this pointer can be passed to it when the nextToken
     *  function is called.
     */
    void		    * super;

    /** When the token source is constructed, it is populated with the file
     *  name from whence the tokens were produced by the lexer. This pointer is a
     *  copy of the one supplied by the CharStream (and may be NULL) so should
     *  not be manipulated other than to copy or print it.
     */
    pANTLR3_STRING	    fileName;
}
    ANTLR3_TOKEN_SOURCE;

/** Definition of the ANTLR3 common token stream interface.
 * \remark
 * Much of the documentation for this interface is stolen from Ter's Java implementation.
 */
typedef	struct ANTLR3_TOKEN_STREAM_struct
{
    /** Pointer to the token source for this stream
     */
    pANTLR3_TOKEN_SOURCE    tokenSource;

    /** Whatever is providing this interface needs a pointer to itself
     *  so that this can be passed back to it whenever the api functions
     *  are called.
     */
    void	      * super;

    /** All input streams implement the ANTLR3_INT_STREAM interface...
     */
    pANTLR3_INT_STREAM	    istream;

	/// Debugger interface, is this is a debugging token stream
	///
	pANTLR3_DEBUG_EVENT_LISTENER		debugger;

	/// Indicates the initial stream state for dbgConsume()
	///
	ANTLR3_BOOLEAN			initialStreamState;

    /** Get Token at current input pointer + i ahead where i=1 is next Token.
     *  i<0 indicates tokens in the past.  So -1 is previous token and -2 is
     *  two tokens ago. LT(0) is undefined.  For i>=n, return Token.EOFToken.
     *  Return null for LT(0) and any index that results in an absolute address
     *  that is negative.
     */
    pANTLR3_COMMON_TOKEN    (*_LT)		(struct ANTLR3_TOKEN_STREAM_struct * tokenStream, ANTLR3_INT32 k);

    /** Get a token at an absolute index i; 0..n-1.  This is really only
     *  needed for profiling and debugging and token stream rewriting.
     *  If you don't want to buffer up tokens, then this method makes no
     *  sense for you.  Naturally you can't use the rewrite stream feature.
     *  I believe DebugTokenStream can easily be altered to not use
     *  this method, removing the dependency.
     */
    pANTLR3_COMMON_TOKEN    (*get)		(struct ANTLR3_TOKEN_STREAM_struct * tokenStream, ANTLR3_UINT32 i);

    /** Where is this stream pulling tokens from?  This is not the name, but
     *  a pointer into an interface that contains a ANTLR3_TOKEN_SOURCE interface.
     *  The Token Source interface contains a pointer to the input stream and a pointer
     *  to a function that returns the next token.
     */
    pANTLR3_TOKEN_SOURCE    (*getTokenSource)	(struct ANTLR3_TOKEN_STREAM_struct * tokenStream);

    /** Function that installs a token source for teh stream
     */
    void		    (*setTokenSource)	(struct ANTLR3_TOKEN_STREAM_struct * tokenStream,
						 pANTLR3_TOKEN_SOURCE		   tokenSource);

    /** Return the text of all the tokens in the stream, as the old tramp in
     *  Leeds market used to say; "Get the lot!"
     */
    pANTLR3_STRING	    (*toString)		(struct ANTLR3_TOKEN_STREAM_struct * tokenStream);

    /** Return the text of all tokens from start to stop, inclusive.
     *  If the stream does not buffer all the tokens then it can just
     *  return an empty ANTLR3_STRING or NULL;  Grammars should not access $ruleLabel.text in
     *  an action in that case.
     */
    pANTLR3_STRING	    (*toStringSS)	(struct ANTLR3_TOKEN_STREAM_struct * tokenStream, ANTLR3_UINT32 start, ANTLR3_UINT32 stop);

    /** Because the user is not required to use a token with an index stored
     *  in it, we must provide a means for two token objects themselves to
     *  indicate the start/end location.  Most often this will just delegate
     *  to the other toString(int,int).  This is also parallel with
     *  the pTREENODE_STREAM->toString(Object,Object).
     */
    pANTLR3_STRING	    (*toStringTT)	(struct ANTLR3_TOKEN_STREAM_struct * tokenStream, pANTLR3_COMMON_TOKEN start, pANTLR3_COMMON_TOKEN stop);

	/** Function that sets the token stream into debugging mode
	 */
	void				(*setDebugListener)	    (struct ANTLR3_TOKEN_STREAM_struct * tokenStream, pANTLR3_DEBUG_EVENT_LISTENER debugger);

    /** Function that knows how to free the memory for an ANTLR3_TOKEN_STREAM
     */
    void		    (*free)		(struct ANTLR3_TOKEN_STREAM_struct * tokenStream);
}
    ANTLR3_TOKEN_STREAM;

/** Common token stream is an implementation of ANTLR_TOKEN_STREAM for the default
 *  parsers and recognizers. You may of course build your own implementation if
 *  you are so inclined.
 */
typedef	struct	ANTLR3_COMMON_TOKEN_STREAM_struct
{
    /** The ANTLR3_TOKEN_STREAM interface implementation, which also includes
     *  the intstream implementation. We could duplicate the pANTLR_INT_STREAM
     *  in this interface and initialize it to a copy, but this could be confusing
     *  it just results in one more level of indirection and I think that with
     *  judicial use of 'const' later, the optimizer will do decent job.
     */
    pANTLR3_TOKEN_STREAM    tstream;

    /** Whatever is supplying the COMMON_TOKEN_STREAM needs a pointer to itself
     *  so that this can be accessed by any of the API functions which it implements.
     */
    void		    * super;

    /** Records every single token pulled from the source indexed by the token index.
     *  There might be more efficient ways to do this, such as referencing directly in to
     *  the token factory pools, but for now this is convenient and the ANTLR3_LIST is not
     *  a huge overhead as it only stores pointers anyway, but allows for iterations and
     *  so on.
     */
    pANTLR3_VECTOR	    tokens;

    /** Override map of tokens. If a token type has an entry in here, then
     *  the pointer in the table points to an int, being the override channel number
     *  that should always be used for this token type.
     */
    pANTLR3_LIST	    channelOverrides;

    /** Discared set. If a token has an entry in this table, then it is thrown
     *  away (data pointer is always NULL).
     */
    pANTLR3_LIST	    discardSet;

    /* The channel number that this token stream is tuned to. For instance, whitespace
     * is usually tuned to channel 99, which no token stream would normally tune to and
     * so it is thrown away.
     */
    ANTLR3_UINT32	    channel;

    /** If this flag is set to ANTLR3_TRUE, then tokens that the stream sees that are not
     *  in the channel that this stream is tuned to, are not tracked in the
     *  tokens table. When set to false, ALL tokens are added to the tracking.
     */
    ANTLR3_BOOLEAN	    discardOffChannel;

    /** The index into the tokens list of the current token (the next one that will be
     *  consumed. p = -1 indicates that the token list is empty.
     */
    ANTLR3_INT32	    p;

    /** A simple filter mechanism whereby you can tell this token stream
     *  to force all tokens of type ttype to be on channel.  For example,
     *  when interpreting, we cannot exec actions so we need to tell
     *  the stream to force all WS and NEWLINE to be a different, ignored
     *  channel.
     */
    void		    (*setTokenTypeChannel)  (struct ANTLR3_COMMON_TOKEN_STREAM_struct * tokenStream,
							ANTLR3_UINT32 ttype, ANTLR3_UINT32 channel);

    /** Add a particular token type to the discard set. If a token is found to belong
     *  to this set, then it is skipped/thrown away
     */
    void		    (*discardTokenType)	    (struct ANTLR3_COMMON_TOKEN_STREAM_struct * tokenStream, ANTLR3_INT32 ttype);

    /** Signal to discard off channel tokens from here on in.
     */
    void		    (*discardOffChannelToks)(struct ANTLR3_COMMON_TOKEN_STREAM_struct * tokenStream, ANTLR3_BOOLEAN discard);

    /** Function that returns a pointer to the ANTLR3_LIST of all tokens
     *  in the stream (this causes the buffer to fill if we have not get any yet)
     */
    pANTLR3_VECTOR	    (*getTokens)	    (struct ANTLR3_COMMON_TOKEN_STREAM_struct * tokenStream);

    /** Function that returns all the tokens between a start and a stop index.
     *  TODO: This is a new list (Ack! Maybe this is a reason to have factories for LISTS and HASHTABLES etc :-( come back to this)
     */
    pANTLR3_LIST	    (*getTokenRange)	    (struct ANTLR3_COMMON_TOKEN_STREAM_struct * tokenStream, ANTLR3_UINT32 start, ANTLR3_UINT32 stop);

    /** Function that returns all the tokens indicated by the specified bitset, within a range of tokens
     */
    pANTLR3_LIST	    (*getTokensSet)	    (struct ANTLR3_COMMON_TOKEN_STREAM_struct * tokenStream,
							ANTLR3_UINT32 start, ANTLR3_UINT32 stop, pANTLR3_BITSET types);

    /** Function that returns all the tokens indicated by being a member of the supplied List
     */
    pANTLR3_LIST	    (*getTokensList)	    (struct ANTLR3_COMMON_TOKEN_STREAM_struct * tokenStream,
							ANTLR3_UINT32 start, ANTLR3_UINT32 stop, pANTLR3_LIST list);

    /** Function that returns all tokens of a certain type within a range.
     */
    pANTLR3_LIST	    (*getTokensType)	    (struct ANTLR3_COMMON_TOKEN_STREAM_struct * tokenStream,
							ANTLR3_UINT32 start, ANTLR3_UINT32 stop, ANTLR3_UINT32 type);

    /** Function that knows how to free an ANTLR3_COMMON_TOKEN_STREAM
     */
    void		    (*free)		    (struct ANTLR3_COMMON_TOKEN_STREAM_struct * tokenStream);
}
    ANTLR3_COMMON_TOKEN_STREAM;

#ifdef __cplusplus
}
#endif

#endif


text:
Home News Hollywood Trending News Keanu Reeves Helps Move Equipment While On 'John Wick 4' Set —...
Hollywood Trending News
Keanu Reeves Helps Move Equipment While On 'John Wick 4' Set — Photo – Hollywood Life
All hands on deck! Keanu Reeves proved he is quite the team player while on the set of 'John Wick 4'.
What a guy! Keanu Reeves, 57, proved he is a team player when he helped move equipment while on the set of 'John Wick 4'. In the pics, which you can see below, the actor proved he's just as down to earth as we thought!
Cool calm and collected, the actor is seen carrying a large orange life preserver and a black case while casually walking through the set. Wearing his signature black tux, he opted for a white shirt to complete his ensemble and had his dark hair parted in the middle.
Keanu Reeves proved he's down to pitch in where he can when he carried equipment while on set of 'John Wick 4'. (KCS Presse / MEGA)
Fans have been eagerly waiting for the continuation of the fiction series as it's been two years and fans can't wait to see what the fiction hitman will do next. According to an interview with director Chad Stahelski for IndieWire, he shares the fourth film will go "deeper in terms of the code of the assassin and the relationship that he has with one character in particular." While this may end on a cliffhanger, fans are still anxiously awaiting his fate.
"John may survive all this s**t, but at the end of it, there's no happy ending. He's got nowhere to go," he said. "How do you f**king want me to end it? Do you think he's going to ride off into the f**king sunset? He's killed 300 f**king people and he's just going to [walk away], everything's okay? He's just going to fall in love with a love interest? If you're this f**king guy, if this guy really exist[ed], how is this guy's day going to end? He's f**ked for the rest of his life. It's just a matter of time."
Also Read: Covid-19: Indian variant found in 44 countries, WHO says - News
With production underway, fans will have their answers in no time as the film makes its debut in 2022. The film is sure to be a box office success as John Wick: Chapter 3 earned an estimated $327 million at the box offices worldwide, via IMDb. That's more than the first two films combined! The first only earned about $86 million, and the second earned over $171 million.
While we can't wait to see what the actor has in store for the latest, we will gladly keep looking at the kind gestures the 'John-Wick' front-runner displays in the meantime.
Also Read: Hollywood News | Latest World News | Latest Dubai News
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This web-site displays an old dream, presently realized, representing a humble homage mainly dedicated to my beloved father, David Spunberg (1901-1982), born in Berdichev, as well as to all our Jewish brothers, ruthlessly assassinated during the Nazi invasion of the town in 1941.
Through the pages we'll travel along time, breathing the spirit of Shalom Aleichem and Mendele Mokher Seforim. I hope that this work, prepared in my scarce free time, will be constantly enriched with your help, dear visitors, through your critiques, suggestions and commentaries, in order to make of our renewed "shtetl" a virtual meeting and melting point, root and essence of our Jewish identity. Go ahead and enjoy! !


From the ashes of plague rose a new city. After the bubonic plague swept through Hong Kong in 1894, the British colonial authorities determined that squalid, overcrowded living conditions were to blame. Soldiers in a so-called "whitewash brigade" went door to door, burning furniture and wooden cocklofts. By the end of the year, the Legislative Council had determined that 384 houses in Tai Ping Shan — the most affected district — should be demolished.
What replaced them was an orderly grid of streets punctuated by Blake Gardens, Hong Kong's first public park. Overlooking the garden was a handsome red brick building dedicated to eradicating the plague once and for all: the Bacteriological Institute.
Today, the Bacteriological Institute has become the Museum of Medical Sciences, a privately-operated museum housed inside the government-owned building. It's not one of Hong Kong's most obvious attractions, but it rewards the curious visitor with some fascinating details about the city's medical history, along with some dioramas and artefacts that are at turns charming and creepy.
Increasingly, the museum is branching out beyond the medical world, lending its century-old premises to contemporary artists. Last year, Chinese artist Zhang Yanzi began a residency at the museum, haunted by the story of a story of a surgeon found dead in front of the old laboratory. This year, French artist Daphné Mandel will use the museum as a base for exploring the future ruins of Hong Kong.
"A lot of people know the building but don't know what's inside," says the artist, who began her career as a landscape architect. Always attuned to the layers of Hong Kong space, she turns the city's built environment into whimsical montages that suggest an alternate urban reality.
The museum is a testament to an alternate reality of its own. In the early days of colonial Hong Kong, European colonists lived in spacious quarters in the city's most well-to-do neighbourhoods, while Chinese migrants from the mainland were forced to live in teeming slums like Tai Ping Shan.
Tai Ping Shan was a lively place with pitched-roof stone houses and a public market, but it was also filthy. Several families were crowded into each room and there were no indoor toilets. Every night, women collected "night soil" from each house and walked it down to the harbour, where it was collected by waiting junks for use as farm fertiliser in China.
Where there is human waste, there are rats – and it is rats that carry Yersinia pestis, the bacteria that causes the bubonic plague. When the world's third major outbreak of bubonic plague made its way from Yunnan to Hong Kong in 1894, Tai Ping Shan was hit the hardest. More than 3,500 people died.
The loss of human life was devastating, but it was also an opportunity to finally discover the source of the plague. When the epidemic reached Hong Kong, Swiss-born bacteriologist Alexandre Yersin was sent to investigate its source. He became the first person to identify the pathogen that caused the disease. It's because of his research in Hong Kong that the plague — a terrifying force that had wiped out vast populations in the Byzantine Empire, medieval Europe and 19th century China — was reduced to a treatable illness.
The Bacteriological Institute continued Yersin's work when it opened in 1906. At first, researchers in four laboratories dissected rats and examined them for plague until 1923, when the disease was finally wiped out in Hong Kong. Drinking water and dairy products were all examined for contamination, and vaccines were developed for smallpox and other diseases. By the 1960s, however, research activities moved elsewhere and the building was used for storage by the Department of Health. It was finally declared an historic monument in 1995.
That's when a group of doctors banded together to open the museum. Visitors today are greeted by exhibitions on the 2003 SARS outbreak and the history of medicine in Hong Kong. In the basement, a bovine mannequin lies on a vintage wooden bed as two doctors inoculate it against cowpox. Upstairs, another pair of mannequins perform experiments while dressed in Qing Dynasty (1644-1912) clothing, with partially shaved heads and hair branded into long queues. There are exhibits on Chinese medicine and a medicinal herb garden.
Half of the fun is simply exploring the historic building, with its elegantly tiled balconies, stained glass windows and Chinese-style tiled roof. It's these details that first caught the eye of Daphné Mandel. Although she had passed by the building many times, she went inside for the first time last August. She was charmed by the architecture and the homespun feel of many exhibits. "It's hard not to fall in love with this place," she says.
Mandel's exhibition, Still Life Comes to Life [Hong Kong Vanitas], opens December 7 in the museum's annex. Mandel is an avid hiker and she found herself fascinated by the way manmade objects — tile picnic tables, concrete drainage channels, stone staircases — have been absorbed into the humid, mossy jungle of Hong Kong's country parks. "When I first came to Hong Kong, I wouldn't figure out what was real rock and what was fake rock," she says.
She decided to treat them the way Cézanne treated baskets of fruit. "I love the idea that everyday objects can be set up in such a pompous way they become noble and precious," she says. The resulting works pay tribute to the things that fade into the background of Hong Kong life: wheeled suitcases, rubbish bins, cup noodle containers. One work, "Cliff Dwellings," evokes the future ruins of Hong Kong, with tong lau and shophouses nestled into a hill, overtaken by vegetation.
Other works were inspired by the museum itself, including Mandel's first foray into video art. One piece reimagines one of the museum's storage units as a cabinet of curiosities. "It's full of mini-stories," she says. In a way, just like Tai Ping Shan, its landscape marked by past trauma – and a new city that emerged in response.
Still Life Comes to Life opens on December 7, 2017 at the Museum of Medical Sciences, 2 Caine Lane, Sheung Wan. Entry to the museum will be free during the vernissage. For more information on the exhibition, click here. For more information on the museum, click here.
Founded as a laboratory to prevent disease, the Museum of Medical Sciences is now dedicated to the history of medicine in Hong Kong – with some surprising art exhibitions on the side, including a new show by artist Daphné Mandel.


"For the non-sweet tooths out there, this one's for you. This savoury combination of olive oil, rosemary and lemon in a cake is just sensational and so wonderfully Mediterranean. If you are desperate to make this outside of apricot season, apricot halves tinned in syrup make a good substitute.
Preheat the oven to 170°C (325°F) fan-forced. Grease the ring of a 20–22 cm (8–81/2 inch) springform tin, then turn the base upside down, so it no longer has a lip. Place a piece of baking paper over it, then clamp the ring around it to secure.
To make the cake, in a medium mixing bowl, whisk the egg whites with an electric mixer on medium speed until just foamy. Add only 55 g (2 oz/ 1/4 cup) of the caster sugar in two batches, whisking well between each addition, until soft peaks form. Set aside.
Combine the egg yolks, remaining caster sugar and salt in a medium mixing bowl, and whisk with an electric mixer on high speed until pale and thick. Gradually drizzle in the olive oil, whisking on high speed until all of it has been used. Add the lemon zest and juice, rosemary and flour, and stir with a whisk until just combined. Whisk in one-third of the egg whites to loosen the mixture, then add the remainder and stir very gently with the whisk until combined.
30 minutes, before slicing and serving with your choice of dolloping cream – warm works for this cake!
With all the different styles of dolloping cream, you should know you don't actually need a recipe. All you want is to remember the ratio. Rule of thumb is icing sugar will always be 10% of the cream amount no matter what. For example, you would mix 30 g (1 oz) icing sugar with 300 ml (101/2 fl oz) of cream, then it's generally 1–11/2 teaspoons vanilla extract or to taste. With the cultured creams, you could probably add a smidgen more icing sugar to balance the sharpness but, as is, they will be especially perfect for those who prefer things not overly sweet.
are cultured creams, so have a desirable sharpness that is great for cutting through sweet things, but they differ in fat content.
Sour cream has a lower fat content, which means it does not whip. It's structurally more similar to yoghurt, so you get a more runny finish that will separate if left for a while. Sour cream is also easier to find.
Crème fraîche, on the other hand, can be whipped because of its higher fat content, but it will only be to soft to medium peaks.
To make Vanilla Sour Cream, use the crème Chantilly recipe, but swap out the cream for sour cream, and stir with a spoon to combine.
To make Vanilla Crème Fraîche, use the crème Chantilly recipe, but swap out the cream for crème fraîche, and hand-whisk to soft or medium peaks. This will split if you overwhisk it, and the only remedy is to start again with fresh ingredients.
I love the look of surprise on people's faces when I give them a spoonful of this. They expect 'rich' and they expect 'cream', but what's wonderful is that, instead, they get this light, mildly sharp, vanilla-y, subtly sweet cultured flavour that, to be honest, trumps a conventional crème Chantilly in most cases. It doesn't always hold well, depending on what brands of yoghurt and mascarpone you use, so it's not good for engineering anything that needs to be structurally sound such as between layers of cake. It's best for dolloping generously on things like pavlova or other meringue desserts, slices of tea cake or poached fruit.
Combine all the ingredients in a medium mixing bowl, and whisk until smooth. This will keep perfectly for up to 2 weeks, seeing as both the cheese and the yoghurt are cultured forms of dairy.
This collection brings together Maggie Beer's signature recipes from the summer chapter of her cookbook Maggie's Harvest, including detailed descriptions of seasonal ingredients and inspiring accounts of memorable meals. The recipes highlight Maggie's philosophy of using the freshest and best seasonal produce available, and treating it simply, allowing the natural flavours to speak for themselves. Describing herself as a "country cook," Maggie cooks from the heart and is passionate about instilling in others this same confidence—to use recipes as a starting point, and be guided by instinct and personal taste. This book from one of Australia's best-loved cooks is essential for anyone with an appreciation of the pleasures of seasonal food. Includes metric measures.
What perfect timing – our summer crops have been planted and the first of the season's zucchinis has been picked and the fruit trees are netted, I just can't wait to start making some of Maggie Beer's summer produce recipes.
When reading this book it feel like you are working alongside Maggie in her Barossa kitchen, chatting as you work. Maggie's farm and orchard are in the Barossa Valley South Australia, we love the Barossa Valley – such exciting and fresh produce! "Maggie cooks from the heart and is passionate about instilling in others this same confidence – to use recipes as a starting point, and be guided by instinct and personal taste" the only way to cook!
I cannot wait to start making Maggie's Apricot jam (you cannot beat homemade apricot jam) and bottling Maggie's tomato sauce – pasta sauce in a jar; passionfruit butter is another favourite, chicken breasts stuffed with apricots and green peppercorns – yum and sweet roasted red capsicum pate, and we must make cocktail zucchini fritters (there is always a need for another recipe to make use of zucchinis in our house), always! Enjoy your summer cooking with Maggie Beer's Summer Harvest.


LaxTV Forums | A Forum About The MCLA • View topic - riptide season tickets!?!
i live in orange county and im stoked to go watch the riptide play this year.
how many of you guys in this community plan on seeing them play?
whos getting season tickets? they're only like $107.


text:
'I FEEL LESS OF A MAN'
Cancer patient who lost most of his penis to 'flesh-eating bug' wins six-figure payout 'after op went wrong'
Andrew Lane was found to have necrotising fasciitis after his bowel was perforated during a prostate op
By Lizzie Parry, Digital Health Editor
3 Sep 2018, 14:07
Updated: 3 Sep 2018, 14:11
A CANCER patient who lost most of his penis to a "flesh-eating" superbug after a routine op has won a six-figure payout.
Andrew Lane can no longer have sex and is incontinent after his nightmare ordeal, which has left him with just a tiny stump where his manhood once was.
Andrew Lane can no longer have sex after most of his penis was removed when he developed a flesh-eating bugCredit: PA:Press Association
The 63-year-old was due to have his prostate removed at Southend Hospital in March 2013.
But in the aftermath of the surgery he contracted the potentially killer bug, necrotising fasciitis.
It "ate away" at his insides, leaving doctors no option but to remove all the contaminated tissue - including most of his penis.
He was left with just an inch-and-a-half of his penis.
Doctors were forced to remove most of his manhood, as well as a large section of stomach muscle to contain the bug, necrotising fasciitisCredit: PA:Press Association
Mr Lane, from Thurrock in Essex, was rushed to theatre but the damage caused by the vicious infection was already severe by the time medics picked it up.
They discovered his bowel had been punctured during the operation, six days previously, his lawyers said.
Mr Lane had to have a large section of stomach muscle removed, which has left him looking "nine months pregnant".
Southend University Hospital NHS Foundation Trust has admitted there was a delay in diagnosing Mr Lane's condition, and the case was settled in July for an undisclosed six-figure sum, lawyers Slater and Gordon said.
Mr Lane, 63, has been awarded a six-figure sum by Southend Hospital, after they admitted they should've detected the infection sooner. He developed the life-threatening condition after an op to remove his prostate
Mr Lane said: "They've admitted their mistake, but I've not had an apology and knowing that just a scan a few days earlier would have prevented all of this is very difficult to accept.
"I've been compensated, but I'll never get my health back and I just want other people to be aware of how dangerous this flesh-eating bug is.
"If you don't feel you are getting the right treatment, you have got to speak out."
A RARE BUT DEADLY INFECTION THAT 'EATS AWAY' AT THE BODY
Necrotising fasciitis is a rare but serious bacterial infection that affects the tissue beneath the skin, the surrounding muscles and organs.
It's often referred to as a "flesh-eating" disease, though the bacteria don't eat the flesh.
Rather, they release toxins that damage the nearby tissue.
The condition can start from a relatively minor injury, such as a small cut, but can progress and get worse very fast.
If it's not recognised quickly, the condition can become life-threatening.
Symptoms can develop suddenly, and early signs include:
A small but painful cut or scratch on the skin
Intense pain that's put of proportion to the damage on the skin
A high temperature, or fever - similar to flu.
After a few days, it's likely you'll notice:
Swelling or redness in the area, which will often feel firm to the touch
Dark patches on the skin that turn into fluid-filled blisters.
Necrotising fasciitis is a medical emergency that can spread very quickly. If you suspect you are suffering with it, it is important you dial 999 immediately.
Mr Lane, who married his long-term partner shortly after being discharged from hospital, can no longer have sex, is incontinent and has been treated for depression following the life-changing operation.
"My wife Sue and I have been together for 18 years and enjoyed a healthy sex life, but since this happened that has been impossible," he said.
"The desire is still there, but the little that's left just doesn't function anymore.
"It's been a difficult thing to come to terms with for both of us. I know Sue still loves me, but I do feel less of a man."
Mr Lane, who now works as a carer, added: "Because I have no muscle tissue my intestines just hang out and I look like I'm nine months pregnant.
"I'm at greater risk of hernias and I have two so I'm in constant pain.
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"I used to be sporty and proud of my body, but now I can't bear to look in the mirror."
Denise Townsend, director of nursing at Southend University Hospital, said: "I can confirm that the Trust is in communication with Mr Lane regarding his case, a settlement sum has been agreed and that the Trust has admitted failures in relation to delays in Mr Lane's diagnosis."
Lawyer Tom Spearpoint, a clinical negligence specialist at Slater and Gordon, said: "Mr Lane has shown incredible strength and selflessness in speaking out to raise awareness of this rare but serious bacterial infection, which left untreated can be life-threatening.
"The impact has been devastating, both physically and emotionally, but the Trust's admissions have at least given him some closure and the means to get the care and support that he needs to move on with his life."
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text:
Q: Euclidean TSP and NN heuristic. Approximation ratio? Consider the TSP problem, in the symmetric and euclidean case. Consider the nearest neighbor heuristic. Is the approximation ratio some given constant? Can the approximation be made arbitrarily bad?
The worst example I can think of with pen and paper has an approximation rate of $\frac{3}{2}$, I am not sure if this can be made worse or not.


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Writing Lives
Collaborative Research Project on Working-Class Autobiography
Introducing Our Autobiographers
Biographical Entries
Purpose & Audience
Education and Schooling
Habits, Culture & Belief
Life & Labour
Politics, Protest & Class
Fun and Festivities
Illness, Health and Disability
Migration, Immigration and Emigration
Life Writing, Class & Identity
Archive of Working-Class Writing
Conceptualising Class
Family, Gender & Childhood
Politics & Protest
Reading & Autodidacts
Social Histories of Class
War, Memory and Life Writing
Researching Writing Lives
Anthony Errington (1778-1848): An Introduction
James McElhone February 12, 2018 Anthony Errington (1778-1848), Introducing Our Autobiographers
The reason of my wrighting the particulars of my life and transactions are to inform my famely and the world. I write this from pure motives of justice and truth, and that whether with or against myself. (19)
Anthony Errington was born in 1778 and passed away in 1848. His untitled memoir, edited by P.E.H. Hair as Coals and Rails: the autobiography of Anthony Errington, a Tyneside colliery waggonway-wright, was written between 1823 and 1830. It covers Errington's life and family in Tyneside. Anthony mainly wrote about the numerous jaw-dropping experiences he had in the collieries whilst also covering his childhood and his superstitions.
An interesting element of Anthony's memoir is that much of his family worked in the collieries in Tyneside. In the introduction, we are told that "A.E. was taught this trade by his father, Robert Errington." (3) When he was young, Robert Errington learnt the trade of woodworking eventually bringing his skill to creating waggons. This is the trade that Anthony started the day his father retired. It was a well-respected skilled trade that Anthony and other family members excelled in. I found learning about how these trades were passed down generations very interesting and almost alien to our modern society. The working class was a hard social group to escape in the 18th and 19th century but there were still a lot of respectable positions that these people could achieve with many opportunities to earn an honest living for themselves and their family.
A Map showing some of the key waggonway routes in Tyneside (1788).
This memoir was a truly engrossing read for me. It boasts a constant flow of extraordinary tales that bring to life a brief moment of working class history in England. Anthony writes how he speaks, using dialect, and this adds more of a voice to his work as it is almost like he is speaking directly to the reader. The memoir also provides a fascinating glance at the huge cultural changes that took place in the collieries due to the influential industrial revolution that occurred in Britain during the time of his memoir.
This was a truly iconic time period for England. David Simpson stated that, "around 7,000 pitmen worked in the [North-East] region in 1787, growing to 10,000 by 1810. Coal mines were opening in the region at places like Newbottle (1774), Lumley (1776), Washington F Pit (1777) and Penshaw (1791)." (Simpson, 2015) The mines were spreading with the development of machinery, something that Anthony Errington was directly involved with. The industrial revolution was an exciting time but also very gruelling for the workers and extremely dangerous which adding a gripping element to the memoir. A lot of his writing covers "his adventures among the perils below," (4) the workers…
found themselves menaced by another product of the depths, a gas which escaped from coal and exploded when it came in contact with the flame of the candle." (5)
Antony briefly discusses his childhood, recalling fights, illnesses and a very nightmarish moment when he was nearly getting buried alive. Not only was working life harsh, there were many dangers such as disease and crime, which made being a child in the late 18th century hazardous. I will delve into these moments of his life in more detail in later blog posts. Learning about the gruelling reality of everyday life was shocking but it is important to know as it is crucial that this period of British life won't be forgotten.
Bedlington F Colliery. Late 19th century?
Throughout the memoir, Anthony doesn't speak directly about trade unions or politics which is surprising for a piece written from the perspective of someone who believed he was underpaid. Besides the dangers of working in the pits, he was very superstitious and believed being a Roman Catholic meant that you had a greater connection with the dead. This will be studied in more depth in later blog posts. It is a very fascinating element of his writing as superstitions in Britain were unlike the ones today. If it was the heavy alcohol consumption or the gruelling hours spent working that caused hallucinations, Anthony and many others were sure of the apparitions that they witnessed.
Errington's real life experiences, recalled in his autobiography, act as a time machine transporting us back to the world in which he lived. I plan to make this blog as captivating for the readers as it has been exploring this author's memoirs. Expect a wide range of perilous events in the pits, a sense of working class pride, ghostly apparitions and a generally greater understanding of a time that shouldn't and won't be forgotten.
1.231 ERRINGTON, Anthony, 'Coals and Rails: the autobiography of Anthony Errington, Tyneside colliery waggonway-wright, 1776-c.1825', transcribed and edited by P.E.H. Hair, TS, 67pp. + 17pp. introduction.
Simpson, David. Introduction to Coal Mining and Railways in the North East. 2015
Images Used
Gibson John, Excavation of Waggonway in Newcastly, Heddon-on-the-wall Local History Society. URL http://heddonhistory.weebly.com/blog/excavation-of-waggonway-at-walker-newcastle
Sixtownships & Coal Mining Memories UK, Bedlington F Colliery, URL http://www.sixtownships.org.uk/
Anthony Errington Introduction North East Writing Lives
2 Responses to "Anthony Errington (1778-1848): An Introduction"
BRIAN JENKINSON says:
Please note that the image of Bedlington "F" pit is not from 1830 – no photographs then and the pit was only sunk in 1854. Judging by the clothing I would guess at c1900 – 1910. John at Sixtownships may have an exact date
Helen Rogers says:
Thanks for the heads up, Brian. We'll get this corrected. Many thanks, Helen
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© 2021 Writing Lives


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*** Chapter 8: The Expansive Horizon: Murder in SF ***
Fruit Bowl -Glass
A deep slumber would surround me. That would happen after the crash. How many watery deaths have there been throughout history? As gravity would bring one to the inevitable, perhaps it would not even be experienced as falling. The abyss, brilliant and blue, with its spectacular horizontal shadow, was like a solid wall from this perspective. But time goes backwards, now. Then, it is past.
While on the Golden span between Marin and the County of San Francisco with the cold breeze from the Pacific at my back and, as always, the silent moisture hammering home the chill, I saw infinity.
In the beginning there was a spark that brought about the birth of all understanding, and, all that was to be understood. And some time later, humanity came about to experience this. We are all children of the Universe. We all came from that one singular spark.
The clues and the facts may become an obsession. They fold and unfold. Will death bring release?
"The music will drive you out of your mind. Let it. " -said no one that could be seen as I leaned against the railing that inadequately hindered suicides. Then I turned towards Marina and away from Alcatraz.
It was Marcus. He walked towards me from the other side of the fog that was silently gathering from over the Headlands. "Some truths are universal."
"How did you know to find me here?" I asked.
"Don't ask me to explain." -his deadly smile. Then a forlorn look as he guessed my thoughts, as he always could. "You have not come here to…"
His beauty, at that moment, was staggering. I responded with muteness.
The clouds, as creamy as white frosting can get, as if on a wedding cake, brought about a deliciousness that could be seen. It was a multi-layered day, already. The waves of the Pacific lapped the shore far below, laughing at me. The steel of the bridge, the whisper of the Ocean conspired to define my reality. It was an obsession, meaning, the things that come to light. We find out who we are at our bleakest hour. Banish the darkness with light!
"Time is on your side." -he said, cryptically. There could be no doubt that he guessed the situation. And, just as suddenly, he disappeared back into the fog which began to suffuse its subterfuge. His riddle of an answer still lingered.
I knew what he was going to say, but didn't: "Don't believe the illusion for a minute." -Like a good mystic. He could explain String Theory if he wanted to. He was that smart. I will always miss him.
"Let set sail the stars and count their progress. Govern the Universe. Into the distance means into the past. And, the past became frozen in time like the banks of a river in December, laden with snow and leaves. But, the stream has not stopped its progress yet." -I will remember him reading out-loud at City Lights, always. This would be THE bookstore in San Francisco you simply must visit.
And he would have continued had the hecklers not stopped him mid syllable: "Be careful in whom you entrust your memories. And keep them a well-guarded secret." As the walls have ears in any earthly palace, I would have thought to myself. But that evening became violent. And, I will always remember the crash, the sound with the sensation.
Staggering. The stars recede with the past. Carrying it as their cargo. Like the waves of the ocean -they know no rest.
"How is it all related?" -I almost asked out loud.
"Well, There is the past. And then, there is the part that comes after the past. That's how every story starts." -said Marcus from the other side of the fog -from the other existence.
Knowing Marcus was like knowing the soul of the Universe. One didn't have to talk out loud. He was a good friend to have, to say the least. And he explained Synchronicity. It was part of his writing. The poet, knows it.
All that glitters is not glitter. Temporality extemporaneously. "Drinking at the top of the Mark." -to paraphrase Jimmy Stewart in Vertigo, a movie that moved me. We can only assume time goes in one direction. Assumptions go as far as all that.
Marcus and I would meet late one day to embark on our journey on a vessel that was not quite ghost ship, but, instead an ancient Chinese Junk. The water was Popsicle Blue, and, the fog was still other-worldly. There are worlds enveloped in worlds. The waves carry us. The laughing Ocean is our conveyance. There was no sun visible through the white thickness. Nor, was the pier visible from the deck of the ship once we were on board that silent day. If it were possible for stillness itself to fill the void, it happened, once and for all.
One would be forgiven for mistaking the experience for that of Death. There are more worlds to explore; existence being more of a journey. The silence was…out of this world as the waves and wind carried us away with the silence of the stars. The Universe plans the itinerary. We are merely conveyed.
It is a puzzle: How life lives us.
"He was inspired by Felice Picano.", it was said at the memorial. And white Carnations were in abundance -his favorite flower. Perhaps because they are dashing on a tux.
Marcus was as he always was, with the stoicism of an angel. The ropes for the sails were manned by monkeys of a type I had never seen before, golden fur, inquisitive eyes, efficient. And they communicated via synchronicity -pure and simple. Industry was his penchant. By that I mean the industry of ideas. Always, he was stirring the depths. The moiling always brought about, Popsicle Blue.
And this was how Marcus introduced me to, Forever.
-by James Legare
la ley de la frontera
La Luna es Lunática