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Can I use one of the digital outputs to my stereo while at the same time using the analog output for my whole-house music system?
yes - all 3 outputs are active simultaneously.
Cool. That was my last question before switching from my Audiotron to a Squeezebox. My Denon 3802 allows analog input only :-( for the multi-room audio while the primary can be digital.


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Julio Eloy Lagos Cosgrove (Iquique, 20 de junio de 1943) es un empresario, exdeportista y político chileno, miembro de Renovación Nacional (RN). Fue senador por la Región de Tarapacá (1990-2002).

Biografía
Nació en 1943. Se casó con Pilar Lira Moller; tiene seis hijos.

Sus estudios primarios los realizó en la Escuela Pública N°16 de Iquique y los secundarios, en el Liceo de Hombres, en la misma ciudad, de donde egresó. A la edad de 18 años se destacó como deportista en las Olimpíadas Sudamericanas, obteniendo el primer lugar en el lanzamiento del disco. Dos años después, en 1964, asistió a los Juegos Olímpicos de Tokio, Japón.

Se ha desempeñado como empresario transportista en la Región de Tarapacá; ingresó al gremio de los camioneros a temprana edad. Fue dirigente de la Asociación de Dueños de Camiones de Iquique, la que presidió en 1970. En 1973 ocupó igual cargo, pero en la Federación Provincial de Camioneros de Tarapacá; participó activamente en la huelga de esta agrupación durante el gobierno de la Unidad Popular. En 1976 fue nombrado secretario general de la Confederación de Dueños de Camiones de Chile, cargo que ejerció hasta 1982, año en que alcanzó la presidencia de esa entidad. Entre 1985 y 1989 fue vicepresidente, en representación de Chile, de la Asociación Latinoamericana de Transporte, ATALAC.

Carrera política
En 1989 se presentó como candidato a senador independiente, en el pacto Democracia y Progreso, y resultó elegido, por la Primera Circunscripción Senatorial, Región de Tarapacá, para el período 1990-1994. Integró la Comisión Permanente de Transportes y Telecomunicaciones; y la de Intereses Marítimos, Pesca y Acuicultura. Desde 1993 integró el Consejo Nacional para el Control de Estupefacientes (CONACE). Dicho período senatorial, según el artículo 45, inciso segundo de la Constitución Política de la República y el artículo 16 transitorio de la ley N°18.700, Orgánica Constitucional de Votaciones Populares y Escrutinios, duró cuatro años.

Se incorporó al partido Renovación Nacional (RN), el 13 de marzo de 1990; fue vicepresidente de la Comisión Política de dicha colectividad.

En 1993 fue reelecto senador, por la misma Circunscripción Senatorial, en representación de RN, para el período 1994-2002; fue senador reemplazante en la Comisión Permanente de Defensa Nacional; e integró la Comisión Permanente de Transportes y Telecomunicaciones; y la de Intereses Marítimos, Pesca y Acuicultura, la que presidió.

Continuó como miembro permanente, en representación del Senado, ante el Consejo Nacional para el Control de Estupefacientes (CONACE). En 1994 fue representante de Chile en la Reunión Interparlamentaria "Leagur for Freedom and Democracy", en Taipéi, Taiwán, hasta 1997. En 1995 fue delegado en la 27th WLDF Anual Conference The United Nations, realizada en la ciudad de Nueva York. Y entre los años 1994 y 1996 se desempeñó como delegado parlamentario en la "Cuarta Conferencia Interparlamentaria y Empresarial del Cono Sur de América".

Se presentó a la reelección en 2001, obteniendo el 16,08% de los votos pero siendo superado por su compañero de lista Jaime Orpis, quién se quedó con el escaño. Para las elecciones parlamentarias de 2005, renunció a RN para poder presentarse como candidato a diputado por el Distrito 2 (Provincia de Iquique) en representación de la Unión Demócrata Independiente, aunque finalmente no resultó elegido. En 2009 lanzó una nueva candidatura para senador por Tarapacá, apoyado nuevamente por Renovación Nacional, pero obtuvo tan solo 11.948 votos equivalentes a un 7,27%, por lo que no fue elegido.

Pensamiento político

A pesar de ser un liberal, Julio Lagos ha mostrado fuertes tendencias derechistas, en especial desde su mando entre los camioneros. Se ha mostrado como un fuerte enemigo del centralismo. Ha sido también ampliamente criticado por su cercanía al general Augusto Pinochet y su férreo apoyo al Régimen Militar. En materia económica, se opuso al aumento de las cuotas de jurel.

Su hermano José Lagos fue candidato a concejal de la Ilustre Municipalidad de Iquique en octubre del año 2008, siendo derrotado por sus correligionarios de lista Felipe Rojas y Renzo Trisotti (UDI). En marzo de 2010, debido a la designación, por parte del Presidente de la República Sebastián Piñera, de Rojas como Gobernador Provincial de Iquique y de Trisotti como Secretario Regional Ministerial de Justicia, asumió en reemplazo de Rojas el cargo de concejal en la Municipalidad de Iquique, cargo en el cual se mantuvo hasta septiembre del 2013, cuando anuncia su candidatura a consejero regional por la UDI. En noviembre del 2013 gana los comicios, asumiendo como CORE el 11 de marzo de 2014.

Historial electoral

Elecciones parlamentarias de 1989
 Elecciones parlamentarias de 1989 a Senador por la Circunscripción 1, (Tarapaca)

Elecciones parlamentarias de 1993
 Elecciones parlamentarias de 1993, para la Circunscripción 1, Región de Tarapacá.

Elecciones parlamentarias de 2001
 Elecciones Parlamentarias de 2001, para la Circunscripción 1, Tarapacá..

Elecciones parlamentarias de 2005
 Elecciones parlamentarias de 2005 a Diputado por el distrito 2 (Alto Hospicio, Camiña, Colchane, Huara, Iquique, Pica y Pozo Almonte)

Elecciones parlamentarias de 2009
 Elecciones parlamentarias de 2009 a Senador por la Circunscripción 1, Región de Tarapacá.

Notas

Referencias

Nacidos en Iquique
Senadores del XLVIII Período Legislativo del Congreso Nacional de Chile
Senadores del XLIX Período Legislativo del Congreso Nacional de Chile
Senadores del L Período Legislativo del Congreso Nacional de Chile
Políticos de Renovación Nacional
Alumnado del Liceo de Hombres de Iquique
Senadores de Tarapacá

redpajama_set_name: RedPajamaWikipedia


The Kindle was originally designed as an e-reader, and with its excellent e-ink display it quickly became the device of choice for those who read e-books. Amazon has extended the capability of its tablet offering with the Kindle Fire, an Android-based tablet with full colour HD graphics, web-browsing, media-streaming and gaming. The Kindle Fire HD is a strong competitor on the tablet market, backed by Amazon's already well-developed media and shopping outlets, and we'll tell you how it compares to the market leaders for playing online slots.
Amazon's entry into the tablet market is designed to be an affordable tablet that combines the e-reader capabilities of the original Kindle with the success of app-based mobile tablets. The iPad is clearly the market leader in this sector (and the price reflects that), but the Kindle Fire HD is aimed at the mid-range level as a competitor to the Google Nexus tablet.
Kindle Fire tablets are powered by Fire OS 3.0 'Mojito', an operating system that is based upon the Android operating system, adding cloud services and integrating Amazon's digital content into the platform. It has been built with gaming in mind according to Amazon, so it should be perfectly capable of running slots games, and features 'multi-touch controls'.
There are some great benefits of being attached to Amazon with a Kindle Fire, such as Amazon Instant Video, and if you are already a user of Amazon services, the way that these are integrated into the user interface is bound to please. However, there are significantly less apps available on the Amazon App Store than on the Apple or Google App Stores, and that might be an issue for some people. There are still plenty of slots for the Kindle Fire though, and we've reviewed the very best of them for you.
It was always going to be a tough task for Amazon to catch up with Google and Apple in terms of Apps, but there are more and more new apps hitting the Amazon store every day, and the best casino operators have become aware of the potential custom to be gained on this platform. To Amazon's advantage is that it already has millions of customers, and with millions of Kindle Fires already on the market, there is every reason for casinos to create compatible apps.
That's a good sign for us players, and the same general rules apply to the Amazon App Store as to the Apple and Google App Stores.
There are a host of free games you can download and play, which we'll cover in the next section, but when it comes to real money Kindle Fire HD slots you should always read our casino reviews before you download anything to make sure they are reliable and trustworthy. We've conducted our own reviews of hundreds of casinos and the best slot machines, and we also encourage our users to leave feedback about sites and machines they've played at, so there's plenty of information right here on this site for you.
If you're an avid slots player there are tons of free Kindle Fire Slots to play, where you don't have to submit any personal details, but simply download and start playing.
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The majority of casino apps can be downloaded for free, and will allow you to play the slot machines with free credits without having to sign up or enter any details. Again, you won't win any money by doing this, but it's a great way of testing out each game and the casinos software before you play for real. This is called a No Deposit Bonus.
Don't forget that nearly all casinos offer sign-up bonuses and promotions for new customers, so before you open an account check our bonus pages for the latest special offers. We scour the casino and slots industry for the very best offers, and regularly update them here for our readers.
Each of these tablets and operating systems will have its own fans, and it's as much down to personal preference as anything else. The iPad has always been seen as the ground-breaker in the tablet world, and Apple's device is one of the quickest and most intuitive around. However, it is true that there are less casino apps and slots apps on iPad or Kindle Fire compared with Android, so if variety is your thing, an Android device will probably offer the widest choice of games. The Kindle Fire HD is by no means a poor relation though. There are enough slots and casino apps to keep most players happy, and it comes in at a much more reasonable price than an iPad.


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Good Teamwork Can be the Difference in Successful Disaster Recovery
KING OF PRUSSIA, Pa. - There may be no cheerleaders or uniforms, but there will be teams at a disaster simulation scheduled during the Ohio Credit Union System annual convention April 20 through 21 in Cleveland. The simulation, also known as a tabletop exercise by emergency preparedness officials, will take...
By Eileen Courter | April 18, 2006 at 08:00 PM | The original version of this story was published on Credit Union Times Magazine
KING OF PRUSSIA, Pa. – There may be no cheerleaders or uniforms, but there will be teams at a disaster simulation scheduled during the Ohio Credit Union System annual convention April 20 through 21 in Cleveland. The simulation, also known as a tabletop exercise by emergency preparedness officials, will take place during a breakout session conducted by Mike Jennings, vice president of consulting at Strohl Systems. The company offers software aimed at helping firms with disaster response and business continuity. Attendees are expected to be present at both the morning and afternoon segments, which will mimic the critical first 72 hours of recovery time. Jennings has led similar programs for credit union groups in Maryland, Florida and New York. "As people come in, they will be set up in teams," Jennings explains. "There may be a command center team responsible for overall management of the recovery effort. On that team people will represent human resources, corporate communications, legal and so on. Another team will be a facilities recovery support team responsible for risk management, damage assessment, and repair and retrofit issues. "We would also have a technology recovery support team. They would work on wide area network and local area network recovery and servers. We don't want to leave out voice and data communications. There would also be a service recovery system, helping with membership verification and other member support activities." Participants count off and are assigned to numbered teams as they enter the room – that way teams don't include groups of co-workers or close friends walking in together. Does it take a while for the teams to become effective? Jennings' experience indicates that for perhaps the first 15 minutes team members are trying to figure each other out and assume their assigned roles. Then they basically jump right in. Jennings emphasizes the purpose of such simulations is to create awareness and encourage people to evaluate their own credit union using this exercise as a benchmark. Is the recovery plan pretty well-tuned or does it require considerable work? After thinking about the issues involved, Jennings hopes exercise participants will then act to shore up their disaster recovery plans as needed. "Another thing I've heard from participants is the simulation really creates awareness that it's more than just me going through the exercise. A great example is a woman who was appointed to a facilities group at a simulation. She was assigned to setting up travel and logistics," he recalls. "She had no idea of the complications and the issues she would face. She was looking at disaster recovery through her little prism, perhaps as a customer support representative, and not taking a step back." People begin to realize unexpected problems are going to occur, and they need to think outside the box and come up with creative solutions. Jennings has discovered the biggest challenge in running such simulations is overcoming apathy – it's not going to happen to me, it's going to happen to the guy down the street. People responsible on an organization chart for business continuity may be shouldering a half dozen other tasks. In addition, disaster preparedness is often the first thing that gets slashed or postponed in the budget. However, after 15 years in the business, Jennings is seeing a shift. Business continuity is taking on new urgency as businesses realize their risks and vulnerabilities. In addition to concern about terrorism and natural disasters, government regulations mean executives no longer enjoy wiggle room when disaster strikes. As you think about possible disaster recovery teams at your own credit union, Jennings suggests you consider people who can communicate well and perform under pressure. You'll also need technical experts. Strohl Systems had some 30 clients in the World Trade Center when it was hit by terrorists. Later Strohl held a meeting in the New York metro area for those clients. When the topic of people and personnel arose, one client indicated the company thought it had the right people on its team. But those people were so traumatized they became paralyzed and couldn't act. "They thought these people had been tested under pressure before. But of course nobody anticipated the magnitude of the terrorist attacks," Jennings says. "The most glaring challenge is reliance on people to be there when an event happens. I was down in New Orleans right after the first of the year working with a client there. It took two weeks after Katrina for them to bring the senior management team back together. They were out trying to protect their own families. "People need to have their own family disaster plans, and you need cross-training on the job so if the person responsible for branch recovery can't be there someone is designated as a backup and knows exactly what should be done." -

redpajama_set_name: RedPajamaCommonCrawl


At Venetian Builders we understands that everything involved in the remodeling process must be of the highest caliber. We also believe that home remodeling should be an enjoyable experience. By working closely with our builders, you get to see just how high the standards we hold ourselves to really are.
What sets Venetian Builders apart from other general contractors is the scope of our services and extensive experience of our staff. From living room renovation to an additional kitchen, bathroom, or even an entirely new room addition to your house, we can design and build it from the ground up and work diligently and relentlessly to make sure our projects realize the dreams of our clients.


Jane appears to be ideal: attractive, intelligent, unruffled by her employer's abrupt eccentricities. But, gradually, we come aware that Jane has another agenda. Incrementally, Sir Paul's familiar surroundings are altered. His housekeeper is diverted away, strange things happen around the house and he becomes increasingly dependent on his new assistant. Jane plays increasingly sadistic games until their relationship breaks down and it becomes clear that Jane intends to kill Sir Paul. Paul grasps this too late to save himself, but the plot carries further savage twists before it reaches its conclusion.
German director Roland Emmerich (Independence Day, The Day After Tomorrow) will meet with the studios this week to discuss his latest project '2012' (not to be confused with Michael Bay's project, 2012: The War For Souls). The script, apocalyptically themed as Emmerich often favours, was written by Emmerich and Harold Kloser. The two men recently collaborated on '10,000 B.C.', a prehistoric epic that opens in Irish cinemas on March 14th.
According to Variety nearly all studios are interested in the project. Emmerich hopes to have the film ready for summer 2009. We'll let you know how the bidding war goes!


I am just about the biggest Star Wars geek you will ever meet and I live near Orlando, Florida, so it might surprise you to learn that last weekend was my first Star Wars Weekend ever! It might also surprise you that I was not even remotely prepared for the crowds I encountered, despite having visited nearly all the Orlando theme parks before. What follows is a survival guide should you decide to take the Star Wars pilgrimage to this must-see event.
This wasn't possible for us. We had two different groups of out-of-town company visiting us this past month, so we bought so many multi-day, multi-park passes for part of our family! (I could go to all the parks… homework.) Our trip to Hollywood Studios for the Star Wars Weekend was also delayed by a day due to our guests' travel delays, so we couldn't even buy my ticket and my daughter's ticket ahead of time. This made it impossible to sign up for Disney's Fast Pass. Fast Pass is absolutely essential for a Star Wars Weekend. Lines are incredibly long, and character and autograph lines are even longer. If you want an autograph, pick the one you want the most and sign up ahead of time with Fast Pass… [Correction: for autographs, Fast Passes are distributed in the morning and cannot be reserved in advance] and still plan on spending some significant time in line. Decide what rides or events are musts for you and schedule Fast Passes for those as well.
As you can see from this picture of Indiana Jones with my kids, Florida heat really makes you sweat! Bring you own water bottles, preferably like the one I am wearing in the picture with R2D2 below which has an over-the-shoulder carry strap. Squeezing through crowded places is much easier if your water bottle is hanging off a strap down the small of your back.
This one is really important. Places where you can sit down and eat exist but are often crowded with a multi-hour wait time. Either plan this wait into your schedule or adjust your expectations for dinner or lunch to a tasty but expensive hotdog from a street vendor.
Make sure you reserve a block of time to just wander around the park, people watch, and shop in the various stores. The Star Wars Weekend has several Star Wars specific stores and they are not to be missed! There is some really unique Star Wars paraphernalia that you won't find anywhere else, so be prepared to spend some time and money. As you walk around, you also get to see some pretty amazing costumes and t-shirts that other people wear into the park. My favorite by far: a pregnant women was wearing a t-shirt with the picture of the Death Star on her belly with the words "that's no moon." That one is nearly impossible to beat! As we walked aimlessly around the park, we ran into some Storm Troopers, some of Andy's green plastic soldiers, R2D2 and his handlers (yes, he is that important), and last but not least Chewbacca and an Ewok walking to an autograph session. My daughter got a wave from a Wookiee; how cool is that?!
Some of the special Star Wars shows are only on for a weekend or two at a time. I highly recommend you pick at least one unique show with a Star Wars celebrity and go see it during your trip. We were lucky enough to be there while Warwick Davis (Wicket from ROTJ) was there.
Of course, my wife and daughter recognized him more as the character Porridge from Doctor Who–the episode "Nightmare in Silver" where he played an emperor in disguise. You could tell Warwick Davis truly enjoyed being there because he really hammed it up when picking volunteers from the audience and then improvising and playing off the misspoken lines during the show… a true class act!
Last but not least, in the words of Master Yoda, "you must learn patience." For the most part you are there with some really great Star Wars geeks just like yourself, and nearly everyone is courteous. For those that aren't, there are Wookiees walking around that have been known to pull people's arms out of their sockets… just sayin'.


text:
Prithvi is a Sanskrit word for the Earth, and also a Hindu earth goddess.

Prithvi may also refer to:

 Prithvi (missile), a ballistic missile
 Prithvi (1997 film), a Hindi-language film
 Prithvi (2010 film), a Kannada-language film
 Prithvi Chand, Indian politician
 Prithviraj Sukumaran, (born 1982), Indian actor
 Prithvi (musician), Indian music producer

See also


Heat butter in a heavy-based saucepan, add onion, and sauté until translucent. Add butternut squash and peppers, and sauté for another 5 minutes stirring occasionally.
Add flour, curry powder and nutmeg and mix well. Add the 250ml water and stock powder, bring to the boil, stirring gently. Reduce heat and simmer for 15-20 minutes or until butternut squash is tender.
Cool and pour into a food processor. Blend until mixture is smooth, then return to saucepan. Add the milk, additional water, salt and black pepper.
Bring to the boil, stirring occasionally, reduce heat and simmer for another 5 minutes. Remove from heat and place in refrigerator to cool.
Serve chilled with a sprinkle of chopped chives and a dollop of cream.
If you only need half an avocado, leave the stone in the other half and refridgerate. This will prevent it going black. When you want to use, remove stone and thin skin which will form over otherwise green flesh.


Rather like this Aloe, a gift from Otahal ... he swears it attracts hummingbirds at his farm like no other plant when in bloom ... and there are hummingbirds aplenty right now, so it surely would be lovely if it were blooming so we could see ... [INTERJECTION from the Head Gardener: Get to the point, James Joyce!] And that point would be: we finally got rain, although as happens too often, it was a disappointingly brief interlude rather than an extended visit. At least the pots are watered for today.
Sorry about the brief rain, but be patient--it's raining here as I type, such a welcome sound!
My grandmother has this aloe in her yard and it does attract hummingbirdas! Give it plenty of room. You'll have baby plants popping up in no time!
Rose, thank you for your kind words! I'm so glad you enjoyed the book. I'll keep you in mind if I find other such novels.
Mary, I already potted up a couple of babies that came off the mother plant. I've got plenty of room for more!


The Mississippi River's latest flood crest of 25.81 feet is high enough to claim a spot on the top 10 list of historic crests that have been seen in Hannibal.
The crest of 25.81 feet is good for number seven on the all-time list, edging out 25.53 feet that was recorded on June 1, 2013. Sixth on the historic flood list is 26.68 feet that was seen on July 8, 2014.
Number one on the all-time flood crest list in Hannibal is 31.80 feet that occurred on July 15, 1993.
The 25.81 crest occurred at 5:45 p.m. on Sunday, March 31. The river did not stay at that level very long before it started to quickly recede. As of midafternoon Monday the Mississippi River had already dropped 0.7 of a foot since Sunday's crest.
Major flooding begins in Hannibal when the river reaches 24 feet. That occurred at 8:45 a.m. on Saturday, March 30. The river is currently forecast to drop below 24 feet early Wednesday afternoon.
The Mississippi River is expected to remain at moderate flood stage – between 22 feet and 24 feet – through at least Sunday, April 14.
Sunday's crest was the second of note during the month of March. On March 26 the river reached a crest of 23.65 feet at 5 a.m. That level is good for number 16 all-time, falling behind a crest of 23.67 feet on June 28, 2015.
The river may not yet be done. More precipitation is predicted in Northeast Missouri and to the north on midweek.


GILTI stands for Global Intangible Low-Taxed Income, which represents a new category of income.
Generally, GILTI is taxed at the corporate tax rate of 21%.
Under the GILTI rules though, certain C corporation US shareholders can deduct 50% of their GILTI, which halves the effective corporate tax rate to 10.5%. In addition, they can claim foreign tax credits, lowering the US federal income tax due even further.
This is a significant reduction over the previous 35% corporate tax rate and still substantially lower than the new 21% corporate tax rate.
Of course there are requirements to qualify for the low 10.5% tax rate. Just as for the previous tax deferral, the lower GILTI tax rate only applies to international businesses that do not engage in US trade or business.
If you have operations, an office or warehouse in the US, or a "dependent agent" that works for you exclusively, you have a US presence and cannot take advantage of the 10.5% GILTI tax rate. Typically, Amazon resellers using direct shipping or businesses with only an online presence such as a membership website, would qualify for the low GILTI tax rate.
When earnings are distributed to shareholders as dividends, shareholders will pay tax on those dividends. The qualified dividend tax rates remained unchanged at 0%, 15% and 20%, depending on your personal income tax bracket.
The GILTI rules apply a higher tax rate to GILTI attributed to individuals and trusts who own CFC stock (either directly or through LLCs or S corporations) than to C corporation shareholders.
Previously, a US person generally only had to pay tax on income earned through a foreign corporation when he received that income as a dividend.
Now under the new rules, if a US person (not a C corp) is a 10% shareholder of a Controlled Foreign Corporation (CFC), he or she must include their portion of the foreign income on their personal tax return, regardless of whether or not it was received as a distribution to shareholders. This income would be taxed at a whopping 37%.
Owning shares in a CFC either directly or through a LLC or S corp exposes you to a higher tax rate than owning the same shares through a C corp.
Section 962 election allows individual to be taxed as a corporation. This would lower your tax rate to 21%. The reduced 10.5% rate however is not available for individuals.
Putting a C corp in place that owns the foreign company allows you to take advantage of the lower corporate tax rates.
Even if you don't take advantage of the lower C corp tax rates, there is a silver lining. While you would pay more as an individual owner than as a C corp with GILTI, you won't need to worry about dividend taxation.
You cannot defer taxes on foreign earnings anymore. However, you gain the flexibility to move the money as you see fit. You can now decide if you want to keep your taxed earnings overseas or bring it to the US, with no additional tax impact.
To make the best of the new tax situation, you should review your company structure with your advisor and make the necessary elections or adjustments as soon as possible as they affect the 2018 tax year.
If you'd like to review your situation and next steps with an expert, please schedule a consultation.


Grasses in the anual pastures of southern Australia are particularly important early in the growing season.
The main grass sown, has been annual rygrass, but concerns are emerging with 'annual ryegrass toxicity' and and 'in crop' competition.
This work looks at the role of annual brome grass in pastures.
Anderson, G W. (1979) "The place for annual brome grass," Journal of the Department of Agriculture, Western Australia, Series 4: Vol. 20 : No. 3 , Article 14.


Did you know that melanoma in career firefighters is 45% higher than in the general population?
With portraits from award-winning photographer Christer Berg, support the fight against melanoma all year long with our 2017-2018 calendar.
Each month features men and women from the Raleigh, NC area who have committed their careers to serve and protect. The calendar also has regular reminders to examine your skin. Knowing your "spots" and recognizing changes is the best way to detect melanoma early.
All proceeds benefit our melanoma awareness and research projects.
*This item will start shipping in November 2017. We are now accepting pre-orders.


text:
Barksdale's Charge Battle of Gettysburg
Barksdale's Charge Battle of Gettysburg by Don Troiani
Signed & Numbered Limited Edition Print
Custom Framed & Matted using conservation materials and methods
The Print Image Size Is approx. - 27" x 20 "
"Barksdale's Charge"
At 5:30 PM on July 2nd, 1863, Barksdale's 13th Mississippi Infantry charge into the Union's anchor at the Peach Orchard, cutting into the Fire Zouaves in what was described by soldiers on both sides as one of the war's most glorious charges.
At the Battle of Gettysburg, Barksdale's Brigade arrived with McLaws's Division after the first day of battle, July 1, 1863. The plan from General Robert E. Lee was for Longstreet's Corps to maneuver into position and attack northeast, up the Emmitsburg Road, to roll up the Union left flank. Barksdale's sector of the attack placed him directly at the tip of the salient in the Union line anchored at the Peach Orchard, defended by the Union III Corps. At about 5:30 p.m., Barksdale's Brigade burst from the woods and started an irresistible assault, which has been described as one of the most breathtaking spectacles of the Civil War. A Union colonel was quoted as saying, "It was the grandest charge that was ever made by mortal man." Although he ordered his subordinate commanders to walk during the charge, Barksdale himself rode on horseback "in front, leading the way, hat off, his wispy hair shining so that it reminded a Confederate Staff Officer of 'the white plume of Navarre'." The Confederates smashed the brigade manning the Peach Orchard line, wounding and capturing the Union brigade commander himself. Some of Barksdale's regiments turned to the north and shattered Maj. Gen. Andrew A. Humphreys' division. Others of his regiments went straight ahead. By the time his men had gone as far as Plum Run, a mile into the assault, they were counterattacked by a brigade under Colonel George L. Willard. Barksdale was wounded in his left knee, followed by a cannonball to his left foot, and finally was hit by another bullet to his chest, knocking him off his horse. He told his aide, W.R. Boyd, "I am killed! Tell my wife and children that I died fighting at my post." His troops were forced to leave him for dead on the field and he died the next morning in a Union field hospital.


Rose Eken is an artist fascinated by space. For her, all places and spaces lay somewhere between the memory of the past and the aspiration of what lies next. The artist is fascinates by the projection of our memories into things that we are being presented with in our everyday life. It is this relationship between the space and the surrounding objects that as she believes, makes us unique and shapes our identity.
Rose Eken has developed an interest in music early in her life. Her mother was an opera singer teacher and at the age of 16, Rose left school to work as a stage technician. Simultaneously she was creating light designs for various Punk and Rock bands from the Copenhagen underground music scene. Her love for music has set the tone for a lot of projects she has undergone in her career including Punk-inspired photography and Rock and Roll ceramic miniatures. But now the Danish artist looks closer to home and finds inspiration in her art atelier.
Tableau, her latest solo show brings a realistic portrayal of an artist studio into the space of V1 Gallery in Copenhagen. The artist removes the vail of mystery surrounding the artist studios whose secrecy she comperes to alchemist workshops. There's a feeling of intimacy surrounding the exhibition as Rose Eken enters into her fellow artists' studios to recreate and display the working environment of an artist.
Widewalls: Many of your previous projects dealt with Punk and Rock and Roll music. What attracted you to these music genres?
Rose Eken: Basically I'm interested in the notion of space and how we perceive the spaces and the object that surrounds us. Working as a stage technician, behind the scene, made me understand or notice the nature of these types of spaces. They are made for an audience and when the audience is not there the space sort of hovers. It is suspended in time, somewhere in between what has happened and what will happen. This fascinates me. This is what is the core of what I do. All places and spaces are really this, somewhere between the memory of and the aspiration of what lies next.
It is very much the notion between public and private understanding and recollection which fascinates me and music is a mirror of this notion. Nothing like music hits you directly emotionally and yet also very literally physically. We so want to believe that that front singer is singing this particular love song specifically to you. Or you have the experience that he or she has put in words the way you feel. This is very intimate and a private experience. Yet at the same time you can stand among 30.000 people and everyone is singing along to the same song or jumping up and down what ever the music might be. This is a very collective experience but you still believe that the singer is singing this song just to you. This balance between the private and the collective experience and comprehension of our navigation in the world is very much at the core of our existence or at the core of what we believe shapes our individual identity.
WW: Why did you choose art studio as the main topic of your upcoming exhibition?
RE: Well, there are just as many gadgets in the art world as there is in the music world! So lots to re-render! No really, I think I just wanted to turn my gaze closer to home. And the artist studio is just as (if not more) romanticized than any backstage room. Or at least it goes on a hell of a lot longer in art history. Basically the artist studio has been a center of attention and fascination. The artist studio is like the alchemist workshop, mysterious and fascinating. This is where the magic happens, where the suffering artist is contemplating all the sorrows of life. This is where the genius is at work. But really when you work in one every day it's actually not that interesting at all. It's just where you work and make things happen your way.
WW: How long did the correspondence with other artists last? How much did their feedback affect your original exhibition concept?
RE: That varied quite a lot. With some I haven't had a long correspondence at all. They just sent me a picture. Others engaged more, or had many more questions or concerns about what I was doing and why. It is definitely very much entering a private sphere when entering someone else's work space and I didn't want to step on anybody's toes. It is the one and only place to be yourself with what you do. But it varies a lot, how the individual artist create this space around them or inhabits it. For some, it's very related to their practice, to their manner of working, to the actual physical space. To others this has no importance whatsoever. Their feedback didn't change my concept at all. But it has very much been an important factor in the overall look and feel of the final show, as it has determined which particular objects it would consist of.
WW: After exploring all of their studios have you made any changes to you own working space?
RE: No, why should I? I have my particularities just as they have theirs. And mine works for me. But I do feel, at least with some of the artist I have corresponded with, that they have allowed me an insight into their way of working as I have studied the various details of the space and tools that surround them every day. Spaces I have never been to myself and I now feel I know them very well. I have noticed things that they might not even themselves be consciously aware of, but still stuff that have some relation to how they think and work.
WW: You involved ceramic recreations of objects from your own studio in Tableau exhibition. Could you name your favorite item both in your own studio and your favorite item in the exhibition?
RE: I guess the thing I like from my own studio is my "tapetowers" as I prefer to name them. I have this love of tape and have always had stacks of different kinds standing on my desk. They are quite sculptural and colorful things, very mundane objects we all know, but stacked like this they form this strange abstract color formation. I like that. But naming one from the show… Gosh, that is a bit like saying which one of your children you like the best! Yes of course, I have preferences but I couldn't name one in particular because if I do I will think of another the same instance. Like, I love the sink, but I also love the milk carton then there are coat hangers, the jacket, the skateboard, the "tapetowers", the plate palettes, the paint tubes, not to forget the rubber gloves or the cactus. I could go on.
WW: My favorite item is Jack in the Music Box. Why do artists keep non-work-related things in their studios?
RE: Yes, I admit, I do love that too. I guess that was very much my incentive for making it in the first place or deciding to make exactly that from the overwhelming array of materials and objects Jonathan Meese made me choose from. Go to a random office building and you are most likely to find something that is not work related in each office like a picture of the kids a Rubik's cube or a cactus or something. Why should an artist work space be so different?
WW: You've worked with a variety of mediums in your career. Why did you choose ceramic for Tableau exhibition?
RE: For this show I wanted to create something that seemed almost impossible, something totally over the top. I also wanted the weight and the presence of the object and clay, so ceramics seemed most suited for that. My vision was to create something that was very close to the real thing and yet at the same time so obviously NOT the real thing at all! I love this collapse, reality that brakes down before you. We have this, call it a gift, as humans to dream or to project memories and associations onto what we look at. We compensate for all the glitches, the wobbliness and uneven straight lines in these ceramic objects. We want to believe that what we see is the real thing because it is so familiar to us. Basically we subconsciously overlook that it's a fake and thus it becomes much more about the essence of the object itself rather than just a mirror or exact replica of the world.
WW: During Tableau exhibit you will participate in Studio Talks with writer Jens-Peter Brask. Have you read his "Brask Studio Visit" book and if so could you share your impressions about it?
RE: Well, Brask Studio Visit book itself doesn't have much text at all. It primarily consists of pictures from Jens-Peter's countless studio visits with artist from all over the world. So in that light his book has been a great source of inspiration and has helped to extend my own research.
WW: Artists often feel special connection to their studios. What are your prevailing feelings and favorite memories related to your art studio?
RE: Extreme peace of mind while an explosion happens.
Mysterious and fascinating art talks and topics will be presented to you daily if you sign up for My Widewalls, for FREE!


text:
Q: Dynamic Typescript type for methods passed in Say I have
interface User {
    name: string;
    age: number;
}

interface Car {
    year: number;
    model: string;
}

interface Action<T> {
    assign<K extends keyof T>(key: K, value: T[K]): void;
}

This allows me to do:
const userActions: Action<User> = ...;
const carActions: Action<Car> = ...;

userActions.assign('age', 1); // all good
userActions.assign('foo', 2); // error that `foo` does not exist
userActions.assign('age', 'foo'); // error that type string is not assignable to age

carActions.assign(...); // same behavior for car

Now I want to create auxiliary methods that can be passed to assign, for example:
const logAndAssign = (key, value): void;

And I want to be able to do
userActions.assign(logAndAssign('age', 1));
// etc

And so I want these aux methods logAndAssign to get the type passed to them. How can I achieve this?

A: You can't call a function with a single argument directly, you could use apply but apply call would not be type safe and calling logAndAssign would imply you passing the type arguments explicitly:
const logAndAssign = function <T, K extends keyof T>(key: K, value: T[K]): [K, T[K]] {
    console.log(`${key} ${value}`);
    return [key, value];
};
userActions.assign.apply(userActions, logAndAssign<User, 'age'>('age', 1));

A better solution would be replace the assign function on Action and then restore it:
function withLogging<T>(a: Action<T>, doStuff: (a: Action<T>) => void) {
    let oldAssign = a.assign;
    // Replace the assign function with a logging version that calls the original
    a.assign = function <K extends keyof T>(key: K, value: T[K]): void {
        console.log(`${key} ${value}`);
        oldAssign.call(this, key, value);
    };
    try {
        doStuff(a);
    } finally {
        //Restore the original assign
        a.assign = oldAssign;
    }
}
// Single call
withLogging(userActions, u => u.assign('age', 10));
// Multiple calls
withLogging(userActions, u => {
    u.assign('age', 10);
    u.assign("name", 'd');
});

redpajama_set_name: RedPajamaStackExchange


text:
Q: estoy tratando de encontrar una forma que el programa me diga cuando una palabra tiene 2 vocales seguidas Por ejemplo en caso de Europa que mi respuesta sea 1 y en caso de python sea 0
esto es lo que llevo(que es nada), sin funciones ni importaciones
i = 0
while i < len(palabra1):
    if palabra1[i] == VOCALES:
        Contador = Contador + 1
    i = i + 1

A: (Usando expresiones regulares)
El patrón "[aeiouAEIOU]" reconoce vocales. Si agregamos un "{2}" al patrón, reconocera exactamente dos vocales seguidas.
Podemos usar findall para aplicar el patrón a un texto y obtener una lista con todos los pares de vocales. Contando el número de elementos sabemos cuantos pares hay.
Demo
import re

patron = re.compile("[aeiouAEIOU]{2}")

tests = ["Europa", "murcielago", "aaeeiioouu", "python"]

for test in tests:
    pares = patron.findall(test)
    print(test, pares, len(pares))

produce:
Europa ['Eu'] 1
murcielago ['ie'] 1
aaeeiioouu ['aa', 'ee', 'ii', 'oo', 'uu'] 5
python [] 0

Process finished with exit code 0

A: Lo puedes hacer de esta manera
resultados = [] #aqui se guardan los resultados
vocales = "aeiou" #indicamos las vocales
palabra1 = "Europa" #la palabra

ant = None
#recorremos cada letra de la palabra
for letra in palabra1:
    if ant and letra.lower() in vocales and ant in vocales:
        resultados.append(f"{letra}{ant}")
    ant = letra.lower()

print(resultados)

En la condición verificamos que la letra actual esté dentro de las vocales y que la letra anterior también esté en las vocales, si se cumple esa condición entonces agregamos las letras a la lista, luego actualizamos la variable ant para que sea la letra actual. Con ant=None decimos que al principio no habrá una letra anterior, por lo que al principio del ciclo no se cumplirá ya que no hay una letra anterior.

A: Puedes contar cada diptongo así:
palabra='bcaanefiaeefo'
vocales = ['a', 'e', 'i', 'o', 'u']

for vocal2 in vocales:
    print([palabra.count(vocal1+vocal2) for vocal1 in vocales])

Salida:
[1, 0, 1, 0, 0]
[1, 1, 0, 0, 0]
[0, 0, 0, 0, 0]
[0, 0, 0, 0, 0]
[0, 0, 0, 0, 0]

Si cuentas el número de diptongos en la matríz anterior y es mayor a 1, quiere decir que almenos hay un diptongo:
palabra='bcaanefiaeefo'
vocales = ['a', 'e', 'i', 'o', 'u']

result=[]
for vocal2 in vocales:
    result.append(sum([palabra.count(vocal1+vocal2) for vocal1 in vocales]))

if sum(result)>0:
    print('Hay almenos un diptongo')


Everyone is the same. It doesn't matter if you are gay, straight, bi. Show your support for equality with the equality postcard from MyPostcard. In these times on divide, it is especially important to support everyone around us. Spread the cause worldwide and make a change by sending postcards not only to all your international friends, but also the appointed lawmakers who are against this. Everyone knows someone who is gay, lesbian or bi, and because of that, you understand how important it is to support these rights and to realize that everyone is equal. By sending this postcard, you are making an effort for change. It's easy !! Send the postcard via our website or free app.


Via the menu "options" users can compare up to five different ICC profiles in 2D with a reference or standard color space. These two-dimensional comparisons enable very smooth Campaign Printing Workflows, because of the possibility to define the largest common color space of all printers that should be used.
Via Profiler Module respectively Profiler Suite users can compare the calculated profile directly with the reference profile or with profiles embedded in the MIM combination.
In addition Gamut Viewer allows three-dimensional comparison of up to two ICC profiles. While rotating the 3D-view, problems can be detected and corrected at once. Another important highlight is the option to illustrate a motive as a 3D point cloud. The point cloud shows exactly the parts of the motive that are lying inside and outside the color space.
View of calculated gray curves of the ICC profile in different rendering intents which show the different CMYK gray. Combinations depend on the respective profile.
View of spider of ICC profile in different rendering intents showing the definition of the profile gamut in the L.a.b. color space.
View of tonal value increase (TVI) / dot gain increase of ICC profile.
Profile information, e.g., creator, color space (CMYK / RGB), device class (printer, input), creation date etc.
View of the embedded colors in the color gamut of a profile, e.g. for a large format test page (CMYK).


What reigns supreme in your life? There is only one supreme power that will set you free and bring lasting hope to the world: Jesus Christ. It's all about Jesus! In the Colossians series, we'll explore the supremacy of Jesus over every nook & cranny of daily life.
What kind of life results from new life with Christ?
Jesus is all we need to be loved and approved by the Father.
When we become followers of Jesus we also become ministers of the gospel.
God has given us faith, hope, and love through the gospel.


text:
A Brief History of Film Artists Who Aren't Doing This for Critics
By Jason Bailey
Another late-summer weekend, more terrible news at the box office: according to Box Office Mojo, last weekend was the worst for movie-going in two years, and barely better than the worst of the last decade. The main reason: nothing to see, since the sole new wide release was a bizarre bit of faith-based Elvis fan fiction called The Identical. It couldn't even crack the top ten, grossing a miserable $977 per screen, and who's to blame? Film critics, who drubbed the movie (it's currently sitting at four percent on Rotten Tomatoes) — at least according to co-star Ashley Judd, who used her Twitter feed to call The Identical "a beautiful, heartfelt movie cynics wait to excoriate & non critics/real people adore it!!"
Ah yes, the old "real people adore it" argument. You know what I'd like to see, just once? The makers of a movie that gets good reviews and favorable feedback shrugging it off with a humble, "Well, we didn't make it for critics." In the meantime, sneering at elitist professionals and taking on a humble, "just-for-the-folks" stance is a reliable go-to response to films that send scribes gagging from the theaters. Don't believe me? Let's take a look at the history of precious film artists who aren't making their movies for the critics.
Micheal Bay (Director)
Few filmmakers have made "I don't make movies for critics" more of a professional mantra than critical punching bag Michael Bay, who started this little incantation clear back in the Pearl Harbor days. "We don't make movies for critics," Bay said in 2001. "I've done four movies; there's millions upon millions upon millions of people who've paid to see them. Somebody likes them. My greatest joy is to sit anonymously in a dark theater and watch it with an audience, a paying audience." (Those damn critics, getting into movies free — more on this later.) Three years later, while promoting The Island, he was still at it: "I don't make movies for critics: I make them for the average person to just go there and forget about their problems for two hours." (The recurring "turn off your brain" element of these arguments says a lot about Mr. Bay's work.) And in 2011, it still needed to be said: "Critics have a field day making fun of me, but people go to my movies in droves. I don't make movies for critics. You've got to do movies that you like and you feel in your gut and hopefully the audience likes." He's right; people do go to his movies in droves. So if critics matter so little, why does he have to keep assuring us that he doesn't care what they think, hmm?
Charles Bronson (Actor)
Bronson was an early adopter of this notion, and it's tough to blame him — after the surprise smash of 1974's Death Wish, he spent a good portion of the next two decades cranking out disposable, interchangeable thrillers that got increasingly negative reviews. It's an old quote and hard to verify, but the line that's most often attributed to him is this: "I don't make movies for critics, since they don't pay to see them anyway."
Amy Holden Jones (Screenwriter)
The sleek, sexy, and utterly ridiculous Indecent Proposal was the surprise hit of spring 1993, grossing over $100 million (back when that number was a big deal) and coming in sixth for the year. But it was also widely panned by critics — so much so that the film's screenwriter, Amy Holden Jones, penned an op-ed in the Los Angeles Times headlined, "A 'Proposal' Intended for People, Not for Critics." (Contrary to popular belief, we critics are also, in fact, people, and not some alien life form.) "The fact is, audiences love the movie," she wrote. "They watch with rapt attention and laugh in all the right places. Sitting in the dark, they are swept away by a great big Hollywood entertainment. They are moved as we intended them to be, and when they leave the theater they are satisfied… By definition, paintings are flat, sculpture is three-dimensional and Hollywood movies are mass entertainment. This is something that critics consistently fail to understand. If a film appeals only to a narrow elite, gets great reviews but does not attract an audience, by Hollywood's definition the film has failed. That's reality."
Philip Anschutz (Producer)
Wealthy entrepreneur Anschutz's Walden Media has bankrolled several films targeted at family audiences, including Holes and the Chronicles of Narnia series. But it was while introducing a special international screening of their 2006 historical epic Amazing Grace that Anschutz slammed the "majority of films" in the Hollywood system as "tasteless, irrelevant, demeaning and potentially damaging to our society." Of his company's socially responsible work, he insisted, "Sometimes the critics like the movies I make, and sometimes they don't. I suppose it is better if they do, but in the end it doesn't make much difference to me, because I already have a full-time job outside the movie business, so my livelihood isn't dependent on the movies. And I don't make movies for critics – I make movies for people. People like you, me and our families." And such unity is vital, since everyone, young and old, could agree that holy cow, Amazing Grace was a total snoozer.
Rob Schneider (Writer/Actor)
The former SNL player and Deuce Bigelow star has never been a critical favorite, but he got particularly defensive around the time he released the 2005 sequel Deuce Bigelow: European Gigolo. In an interview with Stuff magazine (no longer archived, sadly), he said, "I don't like Roger Ebert very much… I don't make movies for critics, but he irks me." And why? Because (aside from his scathing reviews of Schneider's movies), "He's an ass. I'm told he's not nice to the people he works with." Asked for comment by the New York Daily News, Ebert replied, "I don't think he's an ass, but if he's going to persist in making bad movies, he's going to have to grow accustomed to reading bad reviews." Turned out, Scheider wasn't making European Gigolo for audiences either (it would gross barely a third of its predecessor's take). But there's a happy ending here: Schneider and Ebert would subsequently bury the hatchet.
Marlon Wayans (Actor/Writer/Producer)
With a filmography that includes White Chicks, Scary Movie 2, Little Man, and Dance Flick, Mr. Wayans is not exactly a critical favorite. And that doesn't bother him one little bit; when asked whether critics would enjoy his 2013 film A Haunted House (spoiler: ten percent on Rotten Tomatoes), he told The Chicago Tribune, "Some will think it's a guilty pleasure. Others will be too embarrassed to say they liked it. And some, it just won't be for them. Comedy is all subjective. I'm not going to say that critics don't matter. When you get good reviews, you get excited. But I don't make movies for critics. I make them for audiences."
Todd Phillips (Writer/Director/Producer)
Todd Phillips' 2009 smash The Hangover was actually quite well received by critics; its 2011 follow-up, not so much. While promoting the third film, Phillips said that reaction hadn't stopped him from returning to the franchise: "Not to be defensive, but you don't make movies for critics. It's a hard thing when you think about it; to make a movie for someone who gets paid to see the movie. You never want to force a person to see a movie. The movies are made for people who want to see the movies." Which is semi-insane, since many of us who hated the second film did, in fact, want to see it, since we liked the first one so much. We just didn't want to see what amounted to a scene-by-scene remake of the first one.
Tyler Perry (Writer/Director/Producer/Actor)
If there's any doubt that Tyler Perry isn't doing this for critics, consider this: since the horrified reaction to his surprise hit Diary of a Mad Black Woman, only a handful of his many, many movies have even screened in advance for critical appraisal. He's not interested in what they think — in a 2012 blog post before the release of his (widely panned) Good Deeds, Perry wrote, "A friend of mine, who has always been honest with me, told me that this is my best movie yet. Tell me what you think. I'll be on Facebook and my message board all weekend long waiting for the true critics to speak, and that's you." A post later that year, before the release of his big action movie Alex Cross, used similar language: "Be sure to check your ticket stubs to make certain they say Alex Cross and whatever you do, drop me a message to let me know what you thought. I love to sit by the message board and read your comments. You're the real critics." You're the real, true critics, moviegoers, not those assholes who do it for a living.
John Lasseter (Writer/Producer/Director)
Pixar head Lasseter has spent much of his career turning out movies critics love — with one notable blind spot. Cars and Cars 2, which he directed and co-wrote, made tons of money but earned the animation company its worst reviews to date. When asked about this during a special screening in Paris, Lasseter went on the defensive: "We've had a lot of bad reviews, for a lot of movies. When Toy Story came out, everybody seems to forget this, but many critics hated Toy Story. They seem to forget that." They do, perhaps because it's not really true. Anyway, back to Lasseter: "So we're not, you know, this is not the first time. The first Cars was not liked, by the critics either. But, I'm glad to tell you, I don't make movies for film critics." And the audience applauds wildly, of course, and after the translation, he adds, "I make the movies for the audience, and, um, I'm very proud of Cars 2."
Kevin Smith (Writer/Director/Producer)
And we end on the strange tale of Mr. Smith, whose talky, low-budget early efforts (Clerks, Chasing Amy) were championed by critics, many of whom were subsequently puzzled by his slack 2010 action/comedy Cop Out. When they let their dislike be known, Smith went on Twitter and kinda lost his mind. "You wanna enjoy movies again?" he tweeted. "Stop reading about them & just go to the movies. It's improved film/movie appreciation immensely for me. Seriously: so many critics lined-up to pull a sad & embarrassing train on Cop Out like it was Jennifer Jason Leigh in Last Exit to Brooklyn." Gang rape comparison complete, Smith threw down a gauntlet: "[F]rom now on, any flick I'm ever involved with, I conduct critics screenings thusly: you wanna see it early to review it? Fine: pay like you would if you saw it next week. Like, why am I giving an arbitrary 500 people power over what I do at all, let alone for free? Next flick, I'd rather pick 500 randoms from Twitter feed and let THEM see it for free in advance, then post THEIR opinions, good AND bad. Same difference. Why's their opinion more valid? It's a backwards system. People are free to talk shit about ANY of my flicks, so long as they paid to see it." He basically skipped media screenings altogether on his next film, Red State, but then he kind of bypassed theatrical release altogether on that one anyway (to its ultimate detriment). But his next film, this month's Tusk, is getting a traditional release — and just yesterday, I got my critics' screening invite. There's no mention on it of the admission cost. Should I just cover my bases and bring a hundred bucks or so?


September 2014 – Dabawenya Jud!
One of Britain's top trendsetters has now reached Philippine shores creating a more exciting retail scene for today's more discerning style set. The Primer Group of Companies, Asia's next retails giant, is the exclusive distributor of Paul's Boutique in the Philippines.


Nights get pretty chilly out there in Hell's Kitchen why not try and warm up with the Daredevil Symbol Charcoal Men's Hoodie! Now you would always stick to the supersuit and continue fighting criminals to keep warm, with the whole elevated heart rate, but that's more work.
Plus, this hoodie has the Daredevil Symbol on it so you don't need to worry about loosing your street cred while wearing it. Buy now!
Great sweater! Nice thick screen print. Huge hood! Perfect comfortable loose fitting!!!
Sized right and great quality...very happy with this purchase!
First time I've seen a DD hoodie that wasn't bright red, and it fits great.
This is a great pull over hoodie. It also rocks the colors of the black and red DD that i love.


text:
Campus + Community
The UCSB Current
United for Education
The campus's annual United Way campaign continues through March 17
By Andrea Estrada
lineup SF.jpg
Riders take their marks at the 2016 United Way Day at the Races.
Sonia Fernandez
UC Santa Barbara's annual United Way campaign kicked off today with the theme "United for Education" and the goal of raising $125,000 for the United Way of Santa Barbara County (UWSBC).
UCSB and UWSBC have a long history of partnership; in fact, UCSB is the oldest United Way campaign in Santa Barbara County.
The United Way and its partners are working to achieve community-driven goals that focus on education, financial stability and health. Through outreach, volunteer work and the financial participation of dozens of local public and private organizations, the United Way seeks to provide lasting solutions to community problems.
All donations made by UCSB employees remain in Santa Barbara County unless designated outside the area. A significant amount of the dollars raised stay within the UCSB community through the Isla Vista connection that supports the UCSB Children's Center and Isla Vista Youth Projects.
"UCSB believes that we have a responsibility to the community where we live and work," Marc Fisher, vice chancellor for administrative services and the 2017 UCSB United Way senior campaign manager, said in a message to the campus. "The university has had a long-standing partnership with United Way going on more than four decades to promote our shared missions of educating our youth. United Way's programs are an extension of our own service mission of providing opportunities for K-12 students so they can be UC eligible.
"The partnership is the underpinning of UC's mission to provide opportunity and access for the next generation," he continued.
The United Way of Santa Barbara focuses on three impact areas: early childhood literacy, positive youth development and financial stability. "No other single organization has the scope, expertise and influences to bring together hundreds of human service agencies, government, businesses, private foundations and dedicated volunteers around a common vision of creating long-lasting results in our community," Fisher said.
Candy Grams, which give UCSB faculty and staff an opportunity to send personal greetings to friends and co-workers on campus while supporting the United Way of Santa Barbara County, are on sale through 4 p.m. Wednesday, Feb. 1, for delivery on Valentine's Day. Candy Grams can be ordered online at www.ia.ucsb.edu/uw/candy.aspx.
Many UCSB staff and faculty members over the years have served as UWSBC board members and supporters of UWSBC programs. The campus has hosted students from United Way's "Fun in the Sun" summer enrichment program for children from low-income communities, giving them valuable exposure to opportunities for higher education. And UCSB students started a tax-preparation club whose members participate in United Way's Volunteer Income Tax Assistance program, providing free tax preparation to low-income households throughout Santa Barbara County.
More information about the 2017 United Way campaign can be found at 2016 UCSB United Way campaign can be found at www.ia.ucsb.edu/uw.
Andrea Estrada
andrea.estrada@ucsb.edu
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text:
#ifndef Sound_h
#define Sound_h

namespace WebCore {

    void systemBeep();

} // namespace WebCore

#endif // Sound_h

redpajama_set_name: RedPajamaGithub


text:
Q: How does one get the error message from an API in angular? I am using Angular 6 and I have a service that attempts to create a record in the backend database by making POST request.  I implement this request in a service like so:
... usual imports and other Angular boiler plate omitted for brevity ...

export class SitesService {

  constructor(private http: HttpClient) {}

  addSite(siteName){
    const url = environment.apiUrl + '/api/v1/spi/sites/';
    const body = { 'name': siteName };

    const header = new HttpHeaders({'Content-Type':  'application/json' });
    return this.http.post(url, body, { headers: header }).pipe(map ( res => <Site>res ));
  }

I make use of the above service in my component code:
... usual imports and Angular boiler plate omitted for brevity ...

export class SitesComponent implements OnInit {

  ... local variable declaration omitted ...

  constructor(private service: SitesService) {
       ... more unrelated code omitted ...

  addSite(siteName) {
    this.showLoader = true;
    this.service.addSite(this.siteName).subscribe(
      data => this.postSuccess(data),
      error => this.postError(error)
    );
  }

  private postError(error) {
      console.log('ERROR IS');
      console.log(error);
      ... omitted ...
  }

When the API responds with a BAD REQUEST 400 I know that it provides a message along with the status number 400.  As I can see it in the browsers developer's console:

but all my postError() method does is write to the console this:
ERROR IS
Bad Request

I would like to be able to output name: This field is required..
Here is a screen shot that shows I am getting response code 400 and not 200.

UPDATE
It turns out someone on my team had already implemented an interceptor.  Here is its code: (I added the console.log's).
import { Injectable } from '@angular/core';
import { HttpRequest, HttpHandler, HttpEvent, HttpInterceptor } from '@angular/common/http';
import { Observable, throwError } from 'rxjs';
import { catchError } from 'rxjs/operators';
import {LoginService} from '../login/login.service'

@Injectable()
export class ErrorInterceptor implements HttpInterceptor {
    constructor(private authenticationService: LoginService) {}
    intercept(request: HttpRequest<any>, next: HttpHandler): Observable<HttpEvent<any>> {
        return next.handle(request).pipe(catchError(err => {
          console.log('ErrirInterceptor err is:');
          console.log(err);
            if (err.status === 401) {
                // auto logout if 401 response returned from api
                this.authenticationService.logout();
            }
            const error = err.error.message || err.statusText;
            return throwError(error);
        }))
    }
}

When I access my troublesome api the console.log's output:
ErrirInterceptor err is:
error:
name: Array(1)
0: "This field is required."
...

But I still don't understand how to get that error message to my
SitesComponent or SitesService classes.
UPDATE II
It turns out that the interceptor that was previously written didn't handle error responses generated by Django Generic Views so I updated it by changing this line ...
            const error = err.error.message || err.statusText;

... to this:
            const error = err.error.message || err.error.name || err.statusText;

A: Create a file with the interceptor
import { HttpEvent, HttpInterceptor, HttpHandler, HttpRequest, HttpErrorResponse, HttpResponse } from '@angular/common/http';
import { Injectable } from '@angular/core';
import { Observable } from 'rxjs';
import 'rxjs/add/operator/do';

@Injectable( {
    providedIn: 'root'
} )
export class YourInterceptor implements HttpInterceptor {
    constructor () { }

    intercept ( request: HttpRequest<any>, next: HttpHandler ): Observable<HttpEvent<any>> {

        return next.handle( request )
            .do( ( response: HttpEvent<any> ) => {
                if ( response instanceof HttpResponse ) {
                    for ( const key of response.headers.keys() ) {
                        console.log(key); // ***** The message should come out here ******
                    }
                }
            }, ( error: any ) => {
                if ( error instanceof HttpErrorResponse ) {
                    console.error( error );
                    console.error( error.status );
                }
            } );
    }
}

And you import it into the main module of your application
import {
    YourInterceptor
} from './interceptors/.yourInterceptor';

    @NgModule( {
    declarations: [ . . . ],
    imports: [ . . . ],
    providers: [
        {
            provide: HTTP_INTERCEPTORS,
            useClass: YourInterceptor,
            multi: true
        }
    ],
    bootstrap: [ . . . ]
} )


text:
MF F-Self Noncon
M2F Fem Vol
mediafire.com
In Machina
by intaino
In response to an alien threat, you're drafted into the army as a part of a previously all-female rank of mech pilots, despite being a guy. Can you manage your training and life on the base, in order to repeal the monstrous invaders? Or will you choose the easier way to victory...
In Machina is a resource manegement game combined with interactive fiction. The idea is to make playing without transforming yourself and sleeping around possible, but push the player into those aspects by locking the 'best' ending behind difficult to achieve stat-spreads. Time will tell if I'll be able to make it so that this aspect is fun and not frustrating and grindy.
You - an average guy who decided to join the army after his house got smashed by a giant alien.
Captain Webb - a sleezy officer
Doctor Howards - not quite a mad scientist
Sonia Griffin - chief mechanic
Ray Jones - the money guy
Brad Wilson - a cocky wannabe pilot
Lea & Chelsea - your new friends and teammates
Daniel Walsh - an old businessman
So far, there is a single boss to beat, and you need to have an effective strength of 10 to beat it. You can get it by raising the mech power and pilot skill both up to or greater than 10 (or a smaller number boosted by the synchronization rate). You raise the mech power by buying upgrades and pilot skill by training on the simulator.
In order to buy upgrades, you need money. There are currently 3 ways to do it:
Construction work (marketing departament)
Helping Daniel Walsh (marketing departament)
Working at the gloryholes as a part of the Service Unit
You can also boost the effective strength with synchronization which is increased by transforming yourself at the lab (also payed with cash).
Added pictures to almost all scenes
Added the first scenes to 4 new routes
Added the first boss battle
Basic Sandbox
3 transformations scenes
1 Brad scene
Review by Terakahn
Interesting game. Cool premise and transformation but I think the game would be a lot better with videos or animated gifs/webm instead of still images. Longer scenes too.
Review by Kolka
Lots more content, a major leap in a positive direction. Hope there were more crew interactions and backstories, right now you're kinda thrown into dialogue with colleagues that you didn't even know existed, yet they know you, and apparently your character knows them. Hopefully this gets resolved in future updates after more content to the main line is added.
I'm not crazy about mechas, though it's definitely a page from Darling in the Franxx, but with an additional X. The writing is pretty good, and I hope that there will be more to the male characters than just being huge pervs. At least the captain seemed like despite being a skeewy bastard, well, he has some care for the humans and wants to protect them. With that in mind, I hope there will be some epic scenes of fighting against the aliens.
The transformation scenes are not bad, and the Brad scene was pretty funny. I understand that media is hard to find for the mecha genre, at least explicit media, but I think you can use some sort of body part pieces like in other games, to represent the changes to those parts as they go from masculine to feminine. The sex scenes too - just use normal sex gifs/videos. It all being text leaves a lot to the imagination, sometimes too much. Adding some pictures will surely help.
Can't wait for more, this seems interesting, and not entirely for the sex, which is rare for me. The overall premise of humans vs aliens using mechas is rather unique on this site, so I'll be keeping an eye out for future updates.
Review by WH1T3No1SE
I really like the start! I hope this story will get developed further.
Review by therandomestpersons
Has a reasonably interesting premise, but that seems to be all it has going for it so far. Unless I missed something there doesn't seem to be any actual progression or plot so far since things seemingly just go back to the 'select what you are doing today' screen regardless of what you do.
Going off the writing so far, I suspect this to involve a lot of expansion of certain body parts to a ridiculous degree in order to improve the MC's "synch rate" (which wasn't explained what it even does btw. Just that it exists, like there was scene that was definitely supposed to be an explanation for it....but only explained what it was and nothing else.) while Officer Generic Sleazebag sexually harasses and/or exploits you all the while. The Brad guy probably will also do the same thing going off his description but I didn't encounter him in my relatively short time messing around.
I also didn't encounter either of the listed "teammates/friends" so I don't know what is up with them, but maybe they only show up after a certain number of days or something. Because I feel like being introduced to the MC's teammates would be its own scene, or maybe they aren't in the game yet.
Oh, and btw. I did the 'general feminization' tf option and the "synch rate' thing on the sidebar bugged out. That or it was buying the sword option in the hangar that broke it, since thats when I noticed it. Either or, or perhaps both I guess.


text:
Redeemed to Rejoice
Summary: Pastor Erik McEntyre from Christ Centered Church joined us for worship and shared this message from Philippians 3, "Redeemed to Rejoice".
When Christ Isn't Supreme
Summary: Pastor Matt continues the series through the book of Colossians with this message, "When Christ Isn't Supreme".
Supreme Over Me
Summary: Pastor Matt continues through the book of Colossians with this message, "Supreme Over Me".
How Deep The Father's Love
Summary: This week we look at the parable of the prodigal son from Luke 15 and see the depths of God's love for sinners.
Supreme Over The Church Pt. 2
Summary: Pastor Matt continues to preach on the importance of the church from Colossians 1:18.
Supreme Over the Church
Summary: Pastor Matt continues our series in Colossians with this message, "Supreme Over The Church".
Supreme Over Creation
Summary: Pastor Matt continues our series in Colossians with this message, "Supreme Over Creation".
The Will of the King
Summary: Pastor Matt continues our series in Colossians with this message, "The Will of the King" from Col. 1:9-14.
The Fruit of the Gospel
Summary: Pastor Matt continues our new series in Colossians with this message, "The Fruit of the Gospel".
Embracing the Supremacy of Christ
Summary: Pastor Matt begins this new series in Colossians, "Embracing the Supremacy of Christ".
Summary: Pastor Matt concludes our series "Dwell" with this message on fasting and prayer from Matthew 9.
Having God's Ear
Summary: Pastor Matt continues our series on cultivating intimacy with the Lord with this message, "Having God's Ear" from Matthew 6.
Summary: Pastor Matt began a new series on cultivating habits of grace in our lives with this message, "Hearing God's Voice" from Psalm 1.
Speaker: Josh Cushing
Summary: One of our elders, Josh Cushing, wrapped up our series studying the characteristics of God with this message, "I Am Love" from 1 John 4.
I Am The Door
Summary: Pastor Scott continues our series "I Am" with this message on the exclusivity of God, "I Am The Door".


text:
By Seth A. on July 30, 2006 5:59 PM | 2 Comments
It is extremely hot and humid (currently 97 F by heat index), and I haven't yet convinced D to go with me (though I bought her a ticket anyway), but am looking forward to seeing
Os Mutantes tonight
in their penultimate show in the US.
From The Trib, by way of the Houston Chronicle:
Chron.com | After 40 years, Brazil's Os Mutantes is on the brink
After 40 years, Brazil's Os Mutantes is on the brink- By GREG KOT
It took 40 years, but the legendary Brazilian psychedelic rock band Os Mutantes is touring North America for the first time.
The band's headlining appearance Sunday at the Pitchfork Music Festival in Chicago, one of only six shows in the U.S., promises to go more smoothly than Mutantes' first outdoor shows in Brazil.
In the '60s, the band was in the vanguard of the Tropicalia movement that revolutionized Brazilian music and culture. Os Mutantes, the youngest and most brazen of the new rebels, trafficked in outrage.
and from the Times
Os Mutantes - Review - Music - New York Times
Forty years after Os Mutantes got started in Brazil, this band played its first American concert on Friday night at Webster Hall. And for the length of its set, the psychedelic 1960's were back: the 1960's of playful ambitions, blithe eclecticism, virtuoso silliness and lighthearted but genuine rebellion.
Os Mutantes (the Mutants) were at the center of the late-60's tropicalia movement, a particularly Brazilian mixture of intellectual ferment, pop novelty-seeking and try-anything experimentalism. There was defiance in it as well as joy; it emerged while Brazil was under an increasingly repressive military dictatorship.
Two of the movement's great songwriters, Caetano Veloso and Gilberto Gil, were sent into exile; they wrote one of Os Mutantes' best-known songs, "Panis et Circenses" (Latin for "Bread and Circuses," alluding to the Roman emperor Nero). Tropicalia was gleefully modernistic, marveling (with many layers of irony) at the effects of mass media and global interchange. Political points were usually made obliquely, not through direct protest but by laughing at restrictions.
and from Rolling Stone
Rolling Stone : Tropicalia Legends Os Mutantes Reunite for U.S. Shows
On July 21st, Brazilian psychedelic legends Os Mutantes, once known for their outrageous multimedia spectacles, will reunite for their first tour since 1973. The shows will be the first ever in the U.S. for the group.
"Anyone calling themselves the Mutants feels like our brothers," says Flaming Lips frontman Wayne Coyne, who will share the stage with the Mutantes during their July 23rd performance at the Hollywood Bowl.
Tags: Chicago, /music
Amazon,
music_history
tina harris | July 30, 2006 11:47 PM
The is another show in Miami. I just sent swanksalot an e-mail which includes this and other news, such as radio staations 24/7 on Os Mutantes.
Seth | July 31, 2006 9:50 AM
Good show. Took photos with a small digital camera, but haven't looked at them yet. Thanks for the Miami review, changed the wording to say 'penultimate' show.
This page contains a single entry by Seth A. published on July 30, 2006 5:59 PM.
Another Small Step for Earth was the previous entry in this blog.
links for 2006-07-31 is the next entry in this blog.


His day job may not be nearly as dramatic as it is portrayed on television and film, but as David Epstein, MD, explains, the non-fiction version of the medical field is still intriguing. Which is why Epstein brings his knowledge to the small and silver screen as a consultant for The Exchange. We caught up with him recently to ask him a few questions about his background in pediatrics, what his average workday looks like, and what, if any, similarities exist between fictional medicine and real medicine.
Tell us about your background. What sparked your interest in medicine and pediatrics?
My memories are a bit foggy regarding my early childhood, but my parents remind me that I wanted to be a physician since I was 5 years old. I think that they thought that I was going to be a surgeon because of the way that I dissected my food at the table. But my first recollection of wanting to become a doctor stemmed from my grandfather passing away from cancer when I was 12 years old. At the time, it was a very painful experience. Being exposed to the hospital environment and seeing someone very sick for the first time really inspired me to want to make people well again.
As I entered into medical school, I really had no idea about what kind of physician that I wanted to become. I gravitated toward pediatrics because of the honest, lighthearted nature of children and their resiliency, even in the most extreme circumstances. One of my first experiences being significantly involved with the care of a critically-ill child was during my rotation in the intensive care unit (ICU) as a pediatric resident. I was helping care for a young boy who was very sick. One night when I was on call, he had a cardiac arrest. I was the first responder and started the resuscitation with the help of experienced nurses and respiratory therapists. By the time the attending ICU physician arrived, we had just about stabilized the child. I will never forget how quiet and serene the environment was when the staff was working during the code. It was the ultimate scene of teamwork and professionalism. I was impressed by how everyone performed his or her job with such focus and speed. I knew then that I wanted to become a pediatric ICU physician and be part of a team like that.
Could you explain for our readers what you do on an average day?
As an academic physician, my days are variable and depend on my clinical, research, teaching, and administrative responsibilities at the time. When I'm on clinical service, I spend a week at a time in the intensive care unit. While I enjoy all of pediatric critical care medicine, I have a special interest in cardiac intensive care and I mainly help care for children with heart disease, both congenital and acquired. Most of the care revolves around preoperative and postoperative management of these children and I work with a multidisciplinary team of cardiologists, cardiothoracic surgeons, specialized nurses and nurse practitioners, respiratory therapists, social workers, nutritionists, and many other health care professionals to move infants, children, adolescents, and their families through this most difficult time in their lives. I work in a pediatric ICU in an oncology hospital, where there is a different type of patient population with its own special characteristics and needs. It is the variety of clinical work that keeps me intellectually stimulated and striving to learn more.
Because I work in an academic center, I am responsible for and thoroughly enjoy teaching medical students, pediatric residents, pediatric critical care fellows (sub-specialized training), and nurses both in the clinical arena and in formalized teaching sessions. It is very exhilarating to be able to share what I've learned with others. When I'm not on clinical service or actively teaching, I am involved with research activities. My area of interest is health care disparities and how they relate to critical illness in children. There are many barriers to accessing health care that have nothing to do with a patient's ability to obtain insurance and it is important to identify these barriers and remove them. Finally, I have administrative responsibilities that have me engaged in performance improvement activities in the intensive care unit and hospital committees. This gives me the opportunity to improve the care of children from a system or organizational standpoint. The diversity of activities really keeps me engaged in the medical field in a way that makes my work gratifying and fun. So, in answer to the original question, there is no average day at work and that is what I like about it.
Were there any films or television shows that sparked your interest in science as a kid?
I enjoyed watching medical dramas because of my interest in medicine. I specifically enjoyed watching St. Elsewhere. It was my first window into the physician-patient interactions. The characters and stories really exposed me to the emotions and feelings that I imagined a physician would experience.
How did you become involved with The Science & Entertainment Exchange? What do you think of the program?
The public, at large, enjoys watching medicine on television and in movies. Part of their education about medicine (just as I had as a child and adolescent) is through these entertainment platforms. Patients and their families subsequently bring the perceptions and expectations of medicine, formed by what they view through television and movies, with them to the medical encounter. Because I am an educator, as well as a clinician, I feel that being involved with the entertainment community is an excellent way to send relatively reliable medical information and portray the medical field accurately to a large public audience. I sought out a venue to do this and found The Exchange. I have had an excellent experience with The Exchange and the entertainment community that I have had the opportunity to serve. The Exchange has fulfilled my goals of educating and is a valuable service to the public by encouraging the accurate depiction of science.
What's a major difference between medicine as seen on television/film and medicine in real life? Are there any similarities?
I would let them know how exciting it is to collaborate on projects together. I have learned a lot about creative development from the writers that I have come in contact with and I've had the opportunity to use parts of my brain that I didn't know existed. It is a great chance for both parties to explore science reality and science fiction. Science and entertainment are not mutually exclusive worlds and both can benefit from each other in ways that they would not be able to benefit alone.
The thing that inspires me the most is being creative in my work. I enjoy asking clinical questions and performing clinical research. I also have found that the medical aspects are interesting, but the interactions with patients and their families, as well as the systematic practice of medicine, are even more interesting. Anyone can practice medicine, but it is the way in which you deliver care to patients and families that really makes the big difference.


Whether measured by premium income or by assets, traditional life insurance is no longer the primary business of many companies in the life/health insurance industry. Today, the emphasis has shifted to the underwriting of annuities. Annuities are contracts that accumulate funds and/or pay out a fixed or variable income stream. An income stream can be for a set period of time or over the lifetimes of the contract holder or his or her beneficiaries.
Nevertheless, traditional life insurance products such as universal life and term life for individuals as well as group life remain an important part of the business, as do disability income and health insurance.
Life insurers invest primarily in corporate bonds but also significantly in corporate equities. Besides annuities and life insurance products, life insurers may offer other types of financial services such as asset management.
In 2014 the life insurance industry posted mixed results as it continued to face challenges from little household income growth, changing demographics, low interest rates, and consumers' having other financial priorities. Although premiums rose to the highest level since the Great Recession, operating results retreated vs. 2013 partly because of significantly increased surrenders. The industry's net gain from operations before federal income taxes dropped to $49.0 billion in 2014 from $63.8 billion in 2013. Capital and surplus rose to $354.1 billion in 2014 from $331.8 billion in 2013, according to SNL Financial.
Measured by premiums written, annuities are the largest life/health product line, followed by health insurance (also referred to in the industry as accident and health) and life insurance. Life insurance policies can be sold on an individual, or "ordinary," basis or to groups such as employees and associations. Accident and health insurance includes medical expense, disability income and long-term care. Other lines include credit life, which pays the balance of a loan if the borrower dies or becomes disabled, and industrial life, small policies whose premiums are generally collected by an agent on a weekly basis.
Credit life insurance, a form of decreasing term insurance, protects creditors such as banks. The borrower pays the premium, generally as part of the credit transaction, to cover the outstanding loan in the event he or she dies. The face value of a policy decreases as the loan is paid off until both equal zero. When loans are paid off early, premiums for the remaining term are returned to the policyholder. Credit accident and health, a similar product, provides a monthly income in the event the borrower becomes disabled.
Life insurance was once sold primarily by career life agents, captive agents that represent a single insurance company, and by independent agents, who represent several insurers. Now, life insurance is also sold directly to the public by mail, telephone and through the Internet. In addition, in the 1980s insurers began to market annuities and term life insurance through banks and financial advisors, professional groups and the workplace. A large portion of variable annuities, and a small portion of fixed annuities, are sold by stockbrokers. In 2014 independent agents held 50 percent of the new individual life insurance sales market, followed by affiliated (i.e., captive) agents with 40 percent, direct marketers with 5 percent and others accounting for the remaining 5 percent, according to LIMRA, a life insurance trade association.
Eighty-five percent of consumers say they would use the Internet to research life insurance before purchasing coverage, according to the 2015 Insurance Barometer Study by the Life and Health Insurance Foundation for Education (LIFE) and LIMRA, about the same number as a year ago. About 90 percent of consumers between the ages of 25 and 44 would use the Internet to research life insurance. That amount falls for older age groups and was at 76 percent for consumers age 65 and older. About a quarter of consumers went online to find an agent or financial adviser and about one in three went online to find information about an agent or adviser. When it comes to purchasing life insurance, face-to-face with a financial adviser or agent was the most favored life insurance sales channel, with 52 percent preferring that method. Online was a strong second for all age groups, favored by 22 percent of respondents. About one in three respondents under the age of 45 said they preferred the online route, up from one in four a year ago. Other preferred channels were workplace sales (10 percent), mail (8 percent), phone (4 percent) and email (4 percent). About 40 percent of online shoppers went to a website with a quote engine. However, LIMRA research shows that most of these shoppers do so to obtain quick and easy price quotes—only 14 percent of online purchasers bought life insurance from a website that gives quotes, while more than half bought coverage from a company website.


Difference between PsychroGen 1.0 and 2.0 - Psychrometric Software by Airquest Ltd.
Please make sure that you download the appropriate update. If your Product Key is of the form 'PG200AQ-...., then download the PsychroGen 2 update. If it is of the form 'PG200SE-....', then download the Special Edition update. Even though the contents of the two zip files may have the same name, they are different, and are NOT interchangeable.
Periodically we issue updates for PsychroGen 2. Most of the time these are additional features that we have incorporated, but sometimes they could be bug-fixes or enhancements relating to issues raised by users. These updates can be downloaded and installed by both licenced users as well as those who are running the trial versions.
First, extract the contents of the zip file. Then simply replace the previous set of files by the newly extracted ones. Start the Psychrogen 2 program as before. You will be presented with the three options i.e Standalone, Trial or Network. Select the option corresponding to your current installation and carry on. The system will automatically detect that you already have a Product Key and will assign you the same Product Key. You will now be able to use the updated version.


text:
author: admin
comments: true
date: 2012-07-27 12:07:55+00:00
layout: post
slug: homebrew_mountainlion
title: Mountain Lionにhomebrewをインストール
categories: 雑記
tags: Mac
---

Lionと同じ手順で問題なかった。

{% highlight bash %}
Xcodeをインストール
Xcode > Preference > Downloads から Developer Toolsをインストール
sudo xcode-select -switch /Applications/Xcode.app/Contents/Developer
XQuartzをインストール http://xquartz.macosforge.org/landing/
再起動
/usr/bin/ruby -e "$(/usr/bin/curl -fsSL https://raw.github.com/mxcl/homebrew/master/Library/Contributions/install_homebrew.rb)"
{% endhighlight %}

以上。


text:
Q: std::invoke_result doesn't work in a template function with auto return type I'm trying to use std::invoke_result_t and it fails when called for nested lambda in function with auto return type. Here is a reproducer:
template <typename T, typename... Args>
auto print_ret_type(T &&t, Args &&... args) {
  using ret_type = std::invoke_result_t<T, Args...>;
  std::cout << typeid(ret_type).name() << std::endl;
}

int main(int argc, const char **argv) {
  auto worker = [](int i) {
    auto worker_impl = [](int i, auto &worker) {
      print_ret_type(worker, i, worker);
    };
    worker_impl(i, worker_impl);
  };
  worker(10);

  return 0;
}

I get the following error:
include/c++/9.3.0/type_traits:2783:5: error: no type named 'type' in 'std::invoke_result<(lambda at test.cpp:13:24) &, int &, (lambda at test.cpp:13:24) &>'
    using invoke_result_t = typename invoke_result<_Fn, _Args...>::type;

If I use void return type for print_ret_type instead of auto the test compiles successfully. There is a returned template structure in my original code, which depends on ret_type. Can anyone explain why I get an error when auto return type is used?

A: The rules for how return type deduction work are a bit quirky.
To determine the return type, it actually instantiates the body of the function.  Any errors in this instantiation are hard errors.
Lambdas return types are implicitly ->auto basically; so those rules apply to them.  If you want to know the return type of worker, every line of worker must be instantiated, and ditto for worker_impl.
auto worker = [](int i) {
  auto worker_impl = [](int i, auto &worker) {
    print_ret_type(worker, i, worker);
  };
  worker_impl(i, worker_impl); // << worker_impl has no return type yet
};
worker(10);

The return type is demanded in:
template <typename T, typename... Args>
auto print_ret_type(T &&t, Args &&... args) {
  using ret_type = std::invoke_result_t<T, Args...>;

this function is instantiated inside worker_impl to determine its return type in order to determine the return type of worker_impl.
Change it to add ->void to worker_impl:
auto worker_impl = [](int i, auto &worker)->void {

and it compiles, or print_ret_type to return void.
Either one blocks the instantiation of the invoke result at a point where we don't know the return type of worker_impl yet.

Naively, the simple rule "no return statement, an auto return body returns void" would be what you'd think is used.  But C++ doesn't have that rule.
Return type deduction does not untangle all possible cases.  Sometimes you have to make the return type explicit.
And the rules for what happens when deducing return type are not as narrow as they could be.  While the return type of print_ret_type does not matter to the return type of worker_impl, the standard (out of generosity to compiler implementors) gets them to do something closer to "real compilation" there.