text:
When will Qatar treat delivery drivers as essential workers?
Muhammad Muneeb Ur Rehman
By Muhammad Muneeb Ur Rehman
On March 9, Qatar announced that it would close all schools and universities until further notice. Soon after, all major businesses in Qatar, including restaurants, were shut down. While being locked indoors, some people took up new skills like cooking and painting while others turned to online shopping and food deliveries.
Talabat, one of the region's leading food delivery platforms, announced on March 16 that it would waive delivery fees based on a consumer's proximity to a restaurant nationwide. It encouraged residents and citizens across Qatar to get food delivered to their doorstep while being quarantined at home. Other online delivery platforms, including Carriage, Rafeeq, and Snoonu, soon followed, intensifying their marketing campaigns. Many of them added new features to their apps.
Talabat's most recent update included a feature that allows its users to tip the delivery drivers that bring them their food. While many lauded the step, delivery drivers do not feel as excited because, contrary to popular belief, business is not as good for them as before the lockdown.
One Talabat driver from Malaysia mentioned that people usually pay through Talabat credit and do not tip once their food is delivered. While talking to the Doha News staff, he also pointed out that previously more people used to pay in cash and would tip the driver, but now that is not the case.
Delivery workers are frontline workers. Shouldn't they be paid more?
Talking to another delivery driver, Doha News staff found out that the drivers are only allowed to work six hours during the lockdown. Whereas before drivers could choose to work as much as they wanted throughout the twenty-four hours, now they are allocated six-hour slots, which as a result, has cut down the number of deliveries they usually get in half.
This might all come as a surprise to many as lots of people in Qatar assume that delivery drivers are earning much better under the current lockdown. Dozens of delivery drivers can be seen on Doha's empty roads, especially around the time of Iftar and Suhoor.
Regardless of what the food delivery business looks like at the moment or will look like after the current pandemic is over, it is essential to realise that delivery drivers are frontline workers. They are most exposed to the virus every day, and these drivers are risking their lives to feed everyone their favourite meal from a list of restaurants. At the same time, they struggle to make ends meet. Is it fair for them to have to risk their lives with little to no compensation? When will they be valued for the crucial and essential work they do?
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redpajama_set_name: RedPajamaCommonCrawl


text:
Nova Scotia Light and Power Company, Limited (NSLP) was an electric and gas utility company with its head office in Halifax, Canada. The company still exists as a shell but is no longer active; however, for more than a century, it was the major producer of energy in the province of Nova Scotia, and its largest public transit operator.

Origins

NSLP marked as its origin June 11, 1866, and the inauguration of street railway services in Halifax, Nova Scotia, by the Halifax City Railroad Company (HCR).

However, the antecedents of the company go back even farther, to March, 1840 and the charter of the Halifax Gas Light and Water Company, later renamed the Halifax Gas Light Company (HGL).  The company's directors included Edward Cunard, third son of shipping magnate Samuel Cunard.  By 1843, HGL was producing coal gas and distributing it via underground pipes to 281 stores and businesses in downtown Halifax.

Halifax businessman William D. O'Brien chartered HCR in 1863, beginning operations three years later with five horse-drawn tram cars. HCR suspended operations after ten years; but in 1886 a new company, the Halifax Street Railway Company, purchased the remaining HCR assets and resumed horse-powered operations.

In 1885, Halifax industrialist John Starr launched the Halifax Electric Light Company (limited), opening the city's first electric generation plant, a 70 kW facility located at Black's Wharf, near the corner of Lower Water and Prince Streets.  Two years later, HGL purchased Starr's firm.

In 1889, a group of investors including Charles Annand, publisher of the Morning Chronicle newspaper, founded the Nova Scotia Power Company, Limited, taking over street railway operations with the intention of electrifying them; however, the firm was undercapitalized and was unable to build a generating station.

In 1893, Halifax lawyer Benjamin Franklin Pearson launched a second gas-producing firm, the People's Heat and Light Company. In 1897, the company took over HGL. Pearson, with significant holdings in the Nova Scotia coal industry, saw the future in electric power and with three partners incorporated the Halifax Electric Tramway Company Limited on March 20, 1895. The company took over the operations of the Nova Scotia Power Company and then, in 1902, the People's Heat and Light Company.  In 1917, the consolidated company became Nova Scotia Tramways and Power Company Limited; finally, in 1928, the company was reorganized as Nova Scotia Light and Power Company, Limited.

Ownership

In 1919, Stone & Webster, a Boston-based engineering firm with interests in a number of North American electric utilities, purchased controlling interest in the company.  In 1924, the firm sold its interest to Royal Securities Corporation, the brokerage house headed by Nova Scotia financier Izaak Walton Killam. Royal Securities widely sold shares in the company to the public at large and, in later years, NSLP used its broad ownership base as a public relations tool. By 1970, NSLP was owned by 10,785 stockholders; 6273 of them were women. Company directors held only 1.6 per cent of the stock.  The top ten investors combined held less than 16 per cent of the company's shares.

Lt.-Col. John Crerar (Jack) MacKeen (1898-1972), a prominent Nova Scotia businessman and Killam protege, led NSLP for its last four decades. He served as president starting in 1931, before assuming the title of chairman of the board in 1961, a post he held until January 1972, nine months before his death.  He was succeeded as president by W.N. Wickwire QC; however Wickwire died on August 24, 1962, after only a year in office. The company's general manager, A. Russell Harrington (1914-2006), assumed the president's title in 1962 and held both jobs until the company's takeover in 1972.

Expansion

From its modest beginnings, with a single 70 kW generating plant powering a small area of central Halifax, the growth of the company's electrical generation capacity was steady and significant over the years.  When NSLP ceased operations in January 1972, it was producing 1.82 million net kilowatt hours, through a network of three thermal generating stations and 15 hydro stations, in addition to its connections to the interprovincial power grid.

In 1902, the company commissioned a new 1000 kW coal-fired thermal generating station on Lower Water Street, near the corner of Morris Street.  NSLP continued to grow its capacity, both with frequent expansions of the Halifax plant, construction of hydro generating plants in rural areas, and acquisitions of smaller companies throughout rural Nova Scotia. The first of these, in 1929, was the Avon River Power Company, which served the Town of Windsor and other parts of the Annapolis Valley. Under its Avon River subsidiary, NSLP continued to acquire small and municipally-owned systems in Annapolis, Kings and Hants Counties over the next few decades. The company also took over companies in eastern Lunenburg County, Queens County, Yarmouth County and northern Nova Scotia.

In 1935, NSLP took over the operations of the Dartmouth Gas & Electric Light & Heating & Power Company Limited, having laid its first underwater cable across Halifax Harbour to Dartmouth in 1917.

At the time the company adopted the NSLP name in 1928, its electric operations served about 20,000 customers with 600 miles of lines; by 1948, the number of customers had tripled, and line-miles had quadrupled to 2400 miles.

NSLP continued to produce gas exclusively from Nova Scotia-mined coal, opening a new gas plant on Lower Water Street in 1917. The final expansion of gas operations occurred in 1942, and in 1948 the system added its last major customer, supplying gas to the new Victoria General Hospital in Halifax. In the post-war period, gas production remained mostly steady between 190 and 200 million cubic feet per year, but rising coal and labour costs made the operation only marginally profitable. Efforts to sell the division failed. The gas system was abandoned in 1953 and all gas lines under Halifax streets were purged.

Beginning in the late 1920s, NSLP began an aggressive program of rural electrification, designed to bring electric service to remote areas of the province then without access to the NSLP system or the Crown-owned Nova Scotia Power Commission (NSPC).  The program was slowed by the depression, then halted in 1939 with the outbreak of World War II but resumed in 1945. During the post-war period the company built more than 1300 miles of new line and added almost 9000 new rural customers. It declared the program largely completed by 1951.

The company's major thermal generating station, on Lower Water Street in Halifax, was expanded several times over the years, the last being a 90,000 kW addition in 1956. It continued to operate until 1986 and was formally decommissioned in 1992. But as early as 1954 the company recognized the demand for power would exceed the capacity of the plant, and announced it was planning to construct a new 100,000 kW facility at Tufts Cove in Dartmouth.  That plant, designed to burn both coal and oil, began producing power in 1965. Within four years work had begun to double the capacity of the Tufts Cove Generating Station.

Other major post-war projects included hydro projects on the Black River (1953) and at Lequille (1968).  The latter was built to replicate an historic grist mill on the site of North America's first such mill in 1607, and dedicated to Canada's Centennial. When it was opened, in a lavish ceremony featuring costumed Indigenous and European re-enactors, Nova Scotia Lieutenant Governor Victor deB. Oland praised the company as "a very good corporate citizen."

In 1956, NSLP commissioned at its own expense a pair of studies into the viability of commercial tidal power development at the head of the Bay of Fundy. The two studies, by Stone & Webster and by Montreal Engineering Company, independently concluded that millions of horsepower could be harnessed from Fundy but that development costs would be commercially prohibitive at that time.  Successor Nova Scotia Power opened North America's first tidal power installation on the Bay of Fundy in 1984.

NSLP promoted the use of electric power to consumers by opening a chain of retail stores in 1951, marketing both household and commercial appliances. The retail program was intended to "create and stimulate public acceptance of electric appliances"  and featured "nationally known lines" of water heaters, dishwashers, dryers and other products not yet in wide use. The chain's flagship store was prominently located in Halifax, in the Capitol Theatre building at the corner of Spring Garden Road and Barrington Street,  also home to the company's head offices. Other stores were located in Dartmouth, on Portland Street at Prince, and in the towns of Windsor, Chester and Yarmouth. New appliance showrooms were opened as late as 1969, in Halifax's Scotia Square mall and in Greenwood in the Annapolis Valley. The retail operation added almost $1.5 million to the company's bottom line that year.

In 1971, the last full year of its independent existence, NSLP employed 1001 employees, compared to 1168 in 1969.  The reduction was the result of the wind-up of the company's transit operations.  Employment levels were consistent between 1100 and 1200 for the previous two decades.

Transit services

NSLP's original business line was public transportation, and the company continued to operate transit services in Halifax until 1969, when it transferred operations to the City of Halifax.

The Lieutenant Governor of Nova Scotia, Sir William Fenwick Williams, rode the first horse-drawn car from Government House to the Richmond railway station on June 11, 1866.

The Halifax City Railroad laid its original "Main Line" from the foot of Inglis Street, in the city's south end, to Duffus Street in the north, terminating at the Nova Scotia Railway (NSR) station in the Richmond district. Cars ran on the line every fifteen minutes from 6 a.m. to 10 p.m. until 1874, when frequency increased to every ten minutes between 10 a.m. and 8 p.m.

HCR operated horse-drawn streetcars on rails embedded in Halifax streets for more than 10 years, but marginal revenues and plans to move the railway station to North Street, closer to downtown, brought a halt to operations in 1876. When the Halifax Street Railway Company restored service in 1886, it was with 15 new tram cars and HCR's former car barn at the corner of Hanover Street and Campbell Road (now Barrington Street).

Less than a year after the transit system became part of the Halifax Electric Tramway Company, an electric tram car made its first run on February 12, 1896; by April 1 of that year the conversion of the system to electric operation was complete. The company erected a new car barn on the Lower Water Street property to house a fleet of 12 open tram cars and 14 closed-body cars. The Amherst, Nova Scotia-based firm Rhodes Curry Company, later part of Canadian Car and Foundry, built the cars, which accommodated 48 passengers and were painted with bands of dark red and cream.  Initial service was on a south end loop until heavier rails could be laid on the rest of the system.  By the end of May, 1896 service had been extended along Spring Garden Road and Coburg Road. By 1912, the network was extended north along Göttingen Street and west to Armdale.

By the end of World War I the tram car fleet was badly worn and in 1919 the company began its replacement with an order for 24 new Birney Safety cars. The cars, originally painted a conservative dark green, were repainted a bright canary yellow and cream in 1927 for improved visibility. Through the 1920s the company extended the system with the addition of several new routes; in 1927 the company numbered its 11 routes for the first time. By the outbreak of World War II in 1939, 59 cars were carrying nine million passengers each year.

By the conclusion of the war, ridership had more than tripled. Despite the addition of 23 trams, mostly acquired second-hand from other North American cities, the infrastructure was again badly worn and new equipment was in short supply.  NSLP made the decision to discontinue rail service and replace the trams with new electric trolleycoaches.  The abandonment of streetcar service after 83 years was a sad event for many.  On the last day of service, March 26, 1949, NSLP decorated a tram with a tearful face and a goodbye message.  Abandoned rails were simply paved over in many cases, and would periodically reappear through broken asphalt until the last were removed in the mid-1990s.

The Water Street tram car barn was closed in 1949, replaced with a massive new garage on Young Street, in the city's west end, to house the fleet of new "trackless trolleys". The trolleycoaches wore the same yellow-and-cream paint scheme as the trams they replaced. (Except for a brief period in the mid-50s, NSLP's trams and trolleys carried no company name, only a Nova Scotia shield.)

The trolleycoaches were initially successful with ridership peaking at more than 28 million in 1952. As users turned more and more to private vehicles, and Halifax's narrow streets became increasingly choked with cars, ridership declined steadily. By 1967, the last year for which the company reported data, the number of passengers carried on Halifax trolleycoaches fell below 10.6 million.

A total of 87 trolleycoaches, produced by Canadian Car and Foundry and later by Pullman Standard, were to serve peninsular Halifax exclusively until 1963 when the fleet was supplemented with General Motors diesel buses. The last electric trolley coach to operate pulled into the garage early on New Year's Day, 1970. After years of mounting losses and political debate, the City of Halifax agreed to assume ownership of NSLP's transit service, now all-diesel, on the same day.

Wartime operations

NSLP's operations were significantly affected in both world wars.

In 1917, the Halifax Explosion, which killed over 2000 people and decimated a large section of Halifax's north end, demolished much of the company's infrastructure, including gas lines, overhead electric lines and tram car tracks and catenary. Nine NSLP employees were killed in the disaster, including a motorman, James Arthur Bennett, 34, whose tram was directly in front of the explosion. His conductor survived but with serious injuries. Miraculously no passengers died. Because the generating plant and car barns were in the city's south end, damage was somewhat localized, but electric service in the city's north end was cut for several days.  Two trams were destroyed and at least three others had to be substantially rebuilt. Reconstruction of the damaged infrastructure took months, and tram tracks were never replaced in some north-end areas.

In World War II, NSLP was pressed into wartime service, taking on the task of "degaussing" more than 1600 naval and merchant ships. The process involved installing an intricate coil of insulated wire around the outer hull of a ship, connecting the coil to an electric generator to foil magnetic mines.  At the same time, the company built a major new addition to its Water Street generating station to meet the demand posed by a doubling of the city's population during the war years. The plant was built without windows and of heavy reinforced concrete to withstand a possible Nazi bomb strike.

Traffic growth put heavy demands on the transit system during both wars, necessitating virtual replacement of streetcar fleets after both conflicts.  At its peak, the tram system carried 33 million passengers yearly during World War II. Frustration over the overcrowded conditions boiled over during two days of rioting that broke out with the end of the war in Europe. Tram 126 was destroyed when it was wrecked and burned by a mob on Barrington Street near Spring Garden late on the night of May 7, 1945.  The next afternoon, car 151 was commandeered, vandalized and abandoned north of Duke Street. That car, and about a dozen others damaged in the riots, were repaired by NSLP and put back in service.

In one of the more unusual war time stories, NSLP was called upon to degauss 50 American destroyers being conveyed in Halifax to the Royal Navy. In the two hours between the time the Americans vacated the first ships and the time British officers took possession, the vessels were entirely under the command of NSLP: "the only time, in all history, that [an electric utility] ever had a fleet of warships completely under its control."

Public relations

NSLP prided itself on its good corporate citizenship, and was heavily involved in community events, parades and exhibitions, and maintained its properties meticulously.

NSLP's triangular logo, variations of which the company employed since at least the 1920s, represented the organization's three key publics: employees, customers and shareholders.

Beginning in 1948, NSLP adopted Reddy Kilowatt as its corporate mascot.  Reddy Kilowatt, a branding character created in 1926 by Ashton B. Collins Sr. at Alabama Power Company, served as good-will ambassador for about 300 publicly traded utilities around the world. The image of Reddy Kilowatt, with his lightning-bolt limbs and light-bulb nose, featured prominently in company advertising, promotions and signage and was incorporated into NSLP's corporate logo in 1951. A neon Reddy on the Tufts Cove Generating Station dominated the Halifax skyline in the late 1960s; at about 50-feet in height, the sign may have been the largest Reddy Kilowatt image ever created. The character represented NSLP until the company was taken over by the province of Nova Scotia in 1972.  (Reddy Kilowatt Inc., which owned the trademark, would agree to license the character only to investor-owned utilities.)

The company commissioned the prominent Nova Scotia marine artist William E. deGarthe (1907-1983) to paint an original seascape for the cover of its 1951 annual report, a tradition it repeated for the next 20 years. NSLP produced high-quality prints of the paintings, which it made freely available "upon request to the Secretary". Framed copies of deGarthe's NSLP paintings were commonly displayed in Nova Scotia homes and offices for many years.

One of NSLP's most successful public relations ventures was the creation of the Land of Fantasy in 1957. Originally and popularly known as Fantasyland, this Christmas-time show was staged for most of its existence in the basement of the Capitol Theatre Building in Halifax, where NSLP had its headquarters.  The show, declared by the company to be the only one of its kind in the world, was redesigned and built each year by the company's display artist, Carleton (Carl) Edwards (1894-1986), and directed by technician Donald Armstrong. The half-hour Land of Fantasy production incorporated a large number of animatronic creatures, lights and music to tell the Christmas story. Popular recurring characters, including an animated Santa Claus, pneumatically-operated snowman and clown, and a moon-jumping cow, were supplemented each year by an array of new dancing and singing creatures from fairy tales and Christmas stories.

NSLP moved Land of Fantasy to the Scotia Square mall in 1970 for its final three years. The company estimated the show was seen by as many as 700,000 people during its 16-year run. Edwards also designed the company's artistic and ambitious annual parade floats and the imaginative window displays at its retail appliance stores.

Takeover

In December, 1971 the Government of Nova Scotia announced that it was launching a hostile takeover bid to acquire controlling interest in NSLP, with the intention of consolidating electric generation and distribution in the province under the Crown-owned NSPC. The offering price was $13 per share, $5 more than the company's trading price on the Toronto Stock Exchange at the time of the offer.  The directors of NSLP believed the stock was undervalued and requested arbitration but the request was denied. In 1970, NSLP reported profits of $4 million while NSPC lost $371,000. Opponents of the deal included municipal leaders who feared the loss of property tax revenue paid by the private sector company; the province's major daily newspaper, the Chronicle Herald, called the takeover "a high-handed assault on the free-enterprise system."

Prior to the expiry of the government's offer, the directors recommended that shareholders turn over their shares. The sale was completed on January 27, 1972 with the government holding over 90 per cent of the stock.

Current status

NSLP continued to exist as a separate entity following the takeover, but by 1973 was essentially a shell with all its assets leased to the renamed Nova Scotia Power Corporation. The corporation gradually phased out use of the NSLP name from most operations, except for the retail store chain, which it closed. In 1992, a new provincial government privatized the utility as Nova Scotia Power Inc., now part of Emera Inc.  NSLP's remaining assets were sold to the new utility; the company itself was not included. NSLP continues to be held by the Province of Nova Scotia and is still registered in the province's Registry of Joint Stock Companies. Its listed head office address is that of the province's Department of Finance and Treasury Board.

Transit fleet

Sources: Canadian Railroad Historical Association Bulletin 17 (1954) http://www.exporail.org/can_rail/Canadian%20Rail_CRHA_Bulletin_no17_April_1954.pdf; Leger, P.A. and Lawrence, L.M. (1994), Halifax – City of Trolleycoaches.  Windsor ON: Bus History Association; Artz, D. and Cunningham, D. (2009). The Halifax Street Railway, 1866-1949. Halifax: Nimbus.

See also

 Halifax Regional Municipality
 Historic Halifax
 Transportation in the Halifax Regional Municipality
 Halifax Explosion
 Reddy Kilowatt

References

External links
NSLP logos and images
Halifax trolleycoaches
 Fantasyland images
 ReddyKilowatt.org

Defunct companies of Nova Scotia
Nova Scotia Power
Companies based in Halifax, Nova Scotia
Military history of Nova Scotia
Transport in Halifax, Nova Scotia
Defunct Nova Scotia railways
Nova Scotia Light and Power
Energy companies established in 1866
Non-renewable resource companies established in 1866
Non-renewable resource companies disestablished in 1972
1866 establishments in Nova Scotia
1972 disestablishments in Nova Scotia
Companies formerly listed on the Toronto Stock Exchange
1972 mergers and acquisitions
Defunct electric power companies of Canada
Electric railways in Canada

redpajama_set_name: RedPajamaWikipedia


Pocket DVD Wizard - Software Download Center - spyware removal, anti-spam, anti-virus, audio/video tools and more!
The Pocket DVD Wizard lets you use your computer to make backup copies of your personal DVDs, Mpeg, Avi and DivX video and then play them on your Windows Mobile Pocket PC, Portable Media Center, Smartphone or Windows CE handheld device.
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Windows based Portable Media Center players, such as the Creative Labs Zen PMC or the iRiver PMP-120 are also fully supported, as are Windows based Smartphones such as the iJam and Motorola MPX handsets.
Think of it as the ultimate in time shift TV - you can watch your favourite soap or sci-fi thriller anywhere, when you have the time!


I had an attendee come up to me today asking if they could talk to someone from VS-Core. 'Core' is the name that we use for the team that is responsible for the VS infrastructure that is shared amongst all languages. An example of this would be the editor. While the C# team is responsible for the C# editing experience, we fulfill that experience by sitting on top of the interfaces provided by Core. Of course, this isn't a hard rule. The debugger is shared by all languages, however they're contained with the C# team.
It got me thinking and had me start asking attendees what they used DH for. It turns out that big part of it is to get information about the structure of a class. I.e. if they type: "IList list", then they'll get the help on IList (using DH) so that they can know all about that class in a way that completion lists fail. They can see all the information at once, rather than just 8 lines as a time. They can see inheritance relationships and casts. They can see all the docs at once rather than method by method.
If you then have your cursor on the 'snarf' identifier in the last line, then the code definition window will show the source code for this file centered on the line containing 'IList snarf'. So right then and there you know what snarf is.
i.e. we'll spit out the signatures of methods, but not the bodies (although that would be a fun project decompiling IL).
Having this capability seemed to meet all the needs of how people tended to use DH. The places where it doesn't are when you want help to stay up in a separate window and you don't want it to change when you move around in your file. It also doesn't help when you are looking for things that are help only (like examples). So I was wondering how people here felt about DH. Do you love it/hate it? Either way, why? I'll work on getting some images up of the Code Definition window, but before i do that, feel free to give me some thoughts on if you like the idea, or are looking for something else.
I use a separate window, the integrated help is too slow and puts too many tabs in my tab bar.
I also do a lot of Java development and IDEA IntelliJ is my favorite Java IDE, moreso than VS.NET. I can press Ctrl-Q on any identifier and get the full JavaDocs to pop-up in a separate, anchored, scrollable window. If there's no JavaDocs defined, like a user-defined type that hasn't been documented, it'll show the method signature and return type. No need to have a separate window of JavaDocs open.
One thing I'd like to see is if, while on a identifier, I select "Go to Definition" and then, after going there, I want to go back to where I was before, there doesn't seem to be a way to do that. VB6 can do that, F2 and, I think, Shift-F2 to go back. I miss that.
I would expect "ArrayList" to pop-up in a list, already highlighted, and any other known sub/supertypes of ArrayList to be close to the highlighted "ArrayList" option, instead of having to scroll through the entire list or type the first N keys to find my class. I'd expect a little more intelligence there.
It's already done, download Reflector – http://www.aisto.com/roeder/dotnet/ – and get that Smalltalk feeling back. Take note of not just the decompiled code, but the hyperlinking in the code window and so forth. It's not perfect, but having something like it integrated into the VS editing environment would be incredible.
Scott: Rants are good. Rant more.
a) There is a way to go back after go to definition. It's some keystroke that I can't remember now. Ping me in a few days when i'm back at the office and I'll look it up. You can then rebind it to something more useful to you.
b) In whidbey we've bound that action to the back-button on the mouse (if you have one of those 5 button mice).
Rare we know, but people do some pretty funky things (especially in large complicated applications).
We're looking into ways to do this better and I'll add a post on this later.
Anonymous: Reflector gives you a pretty good hierarchical view of your metadata. However, it doesn't give you a view that looks like C# code. We'd like a seamless experience between viewing a definition that comes from your own source and one that comes from metadata. If we had a system like .net reflector, then it would be like the current model where we take you to object browser.
I was referring to taking the IL and producing C# code from it. It would be a fun exercise, especially taking some of the new language features like anonymous delegates and iterators and producing something similar to the original source.
1) Help doesn't remember its desktop state and position. Hit F1, then maximise the window. Close it and F1 again, and that's fine, but if I restart devenv and F1, the window should open maximised again. Opening in the restored state is way too small.
2) Why does help share its favourites with IE? I'd never want to open my IE favourites in help, and equally I'd never open my devenv help favourites in IE. I'd much prefer them to be two separate lists.
I disable DH (or any embedded help within VS) after a fresh install and never enable it again, it was just too slow. If I need help I start up an external version of the .NET documentation or MSDN help (depending on which language I'm using).
1) I am going to investigate why doesn't the external help viewer restart in maximized mode. No promises, but we will try to get this fixed in VS 2005.
2) We are fixing the issues around Favorite in VS 2005. Help favorite window no longer shares favorites with IE, you can import and export favorites across machines and you can even save favorites search (you click on the stored search, and we will reexecute it for you).
As for dynamic help, we have done some work to make it less in the face (like not having it visible at startup in the default window layout, not bringing it up when user hits F1, etc.).
I hate to say it, but dynamic help blows. It just brought my machine to a halt, and I disable it on every new install, like another of the posters indicated he/she did.
However, some of the features being proposed are interesting, to say the least. The comment about generating "pseudo-code" was amusing to me, only because someone will eventually make a plugin that will give you decompiled code a-la Reflector if it can't be found in any of the loaded projects.
I hate dynamic help. If I had the power I would put it in a corner to think about what it's done wrong and come back when it has changed.
2)It continually re-opens when I have not asked for it and above all, it has no useful information for me.
3)If I'm working with some myClass object. I don't get myClass definition as a link, I don't get info on things I can do with this class (Interfaces, Reflection, etc.) No, I get the same 10 boring overly general topics (C# Samples, Customizing the development environment).
I think the DH is a GREAT idea, but the current incarnation is bad, bad, bad.
At home, DH is slow but still faster than me searching manually. At work, (1 Gig ram, 3 Ghz) it's fast enough. It is one of the features that made me fall in love with VS in the first place. I use VS almost exclusively, so I don't have the exposure to different IDEs that others here can use to provide more constructive feedback.
I don't understand what Brian means when he says it opens when he doesn't ask for it… probably because I don't use it the same way. It's a tab docked to the right side of VS and I expand it when I need it. It doesn't seem to populate until I expand it. So it only uses resources when it's needed and then it only takes 1/2 a second to populate. After the first time, it's even faster.
I would agree with the feedback about "the same 10 boring topics" and the lack of info on user defined classes, but I also understand why those decisions were made.
All in all, very well done. Keep up the great work.
You guys should go have a talk with the source safe team. That app pisses me off on a daily basis.
I, too, always work with a seperate help window. The DH's lag is only a fraction of a second, but it really annoys me when I walk the code. The code-definition window you mentioned sounds like a GREAT idea.
Btw, The key-combination to go back to the last place you were in the code (not only after an F12, but regardless) is Ctrl– (That's Control-Minus). Took me a while to find out about it, but it's a lifesaver.
Nicholas: Don't 'hate' saying anything. We don't write features saying "i really hope people won't like this". We want you to be saying "i can't live without 'blah'". By telling us if something isn't good enough, we can fix it, or replace it with something better. All we ask is that you help us understand what does/doesn't work with your development process.
Avner: Thanks for the ctrl– tip (looks like a alternatice to C++ doesn't it).
If you get a chance, try out the VS beta and let us know if you like it or not.
Could you explain why you are annoyed when you walk the code?
Brian is talking about the case when DH pops up when you hit F1. The reason it happens (in VS 2002, 2003) is because we used DH for disambiguation, i.e. to show various alternatives available. This is however not discoverable and it just annoys people. We have fixed in VS 2005 by not using DH but instead showing the alternatives as a drop down off the browser window. For VS 2002, 2003, you can use the VSTweak (http://www.gotdotnet.com/team/ide/helpfiles/vstweak.aspx, a VS powertoy) to disable this F1 popup issue. Scott has talked about these changes at http://blogs.msdn.com/scottsw/archive/2004/03/30/104314.aspx#111440.
Also, if you look at Tools->Options->Environment->Dynamic help, you can uncheck all categories except Help (and may be Action and Misc.). This should reduce the amount of static links in your window.
Nicholas, I have never heard about DH halting up the machine. I do know that it does add 2.5 sec to the cold startup of VS on a 500 MHz, 128 MB, Win2K machine (I do have hard data to back my numbers).
Yes, we do realize that DH doesn't meet people's expectations in many areas and hence we have done work to make it less in the face and reduce the annoyance and hatred around it. We are always open for more suggestion on how to fix it. But be warned, as we are in late stages of VS 2005 and we have more higher priority stuff on our plates and hence these changes most likely wont make into 2005 (unless it is cheap to do and improves the experience).
Saurabh: I've also hit the issue where having DH up can dramatically affect start up time. On the order of far more than 2.5 seconds. I dont' know if it's related to disk or network activity but I do know it's somewhat aggravating as you sort of sit their wanting to use the IDE but unable to do so because everything is locked.
Check out "Anakrino" for .NET. It generates compilable C# from a .NET assembly.


text:
Q: How to make a variable clickable from an AJAX/php query script After advice taken from the community i started work on a AJAX/php script to retrieve data based on a variable from a MySQL database. It works reasonably well now i'd like to be able to click on any of the variables that are shown and that take you to another page whilst remembering your selection. Is this possible?
Here is a link to my website.
Here is my PokemonFight.php code:
<!DOCTYPE html>

    <title>Pokemon Fight!</title>

Pokemon Fight!

Select your type!

<form>
  <select name="test" onchange="showUser(this.value)">
  <option value="">Select a Pokemon Type!:</option>
  <option value="1">Normal</option>
  <option value="2">Fire</option>
  <option value="3">Fighting</option>
  <option value="4">Water</option>
  <option value="5">Flying</option>
  <option value="6">Grass</option>
  <option value="7">Poison</option>
  <option value="8">Electric</option>
  <option value="9">Ground</option>
  <option value="10">Psychic</option>
  <option value="11">Rock</option>
  <option value="12">Ice</option>
  <option value="13">Bug</option>
  <option value="14">Dragon</option>
  <option value="15">Ghost</option>
  <option value="16">Dark</option>
  <option value="17">Steel</option>
  <option value="18">Fairy</option>
  </select>
</form>

Pokemon info will be listed here...

Here is my getpokemon.php code:

<?php
$q = intval($_GET['q']);

$con = mysqli_connect('localhost','root','password','pokemon');
if (!$con) {
    die('Could not connect: ' . mysqli_error($con));
}

mysqli_select_db($con,"pokemon");
$sql="SELECT * FROM test WHERE id = '".$q."'";
$result = mysqli_query($con,$sql);

echo "

Pokemon Name
PokedexID
Move 1
Move 2
Move 3
Move 4

";
while($row = mysqli_fetch_array($result)) {
    echo "
";
    echo "" . $row['PokedexID'] . "	";
    echo "" . $row['Pokemon_Move_1'] . "	";
    echo "" . $row['Pokemon_Move_2'] . "	";
    echo "" . $row['Pokemon_Move_3'] . "	";
    echo "" . $row['Pokemon_Move_4'] . "	";
    echo "
";
}
echo "
";
mysqli_close($con);
?>

A: The folowing piece of code was what i wasn't understanding but replacing what i previously with this new piece of code added a hyperlink on the Pokemon name which links to another page that i'm creating with an ID value of the PokedexID. Hope this helps anyone that was as stuck as i was.
Before Code:
echo "" . $row['PokedexID'] . "	";

After Code:
echo "" . $row["Pokemon_Name"] . "	"

redpajama_set_name: RedPajamaStackExchange


text:
Home Cricket News
Pant will be Airlifted to Mumbai
in Cricket News
Tags: India,
Rishabh Rajendra Pant
Published on: Jan 04, 2023
Indian star wicket-keeper Rishabh Pant had a horrific car accident on 30th December 2022, on the Delhi-Dehradun highway while he was on his way to his hometown. Pant was pulled out from his burning car by a Haryana roadways driver. Pant was admitted to the Max hospital in Dehradun but will soon be airlifted to Mumbai.
Pant's further treatment will be done in Mumbai, as Board of Control for Cricket in India, board secretary Jay Shah has recently announced that Rishabh pant's medical expenses will be taken care by the BCCI and he will be airlifted to Mumbai for better treatment.
"Rishabh will undergo surgery and subsequent procedures for ligament tears and will continue to be monitored by the BCCI Medical Team throughout his recovery and rehabilitation," the BCCI said in a statement. "The Board will make every effort to aid and expedite the recovery process of Rishabh and will provide him with all the support he needs during this period."
In Mumbai Pant will be monitored by Br Dinshaw Pardiwala, who has previously worked with some former Indian cricketers including Sachin Tendulkar and Yuvaraj Singh.
"Rishabh is a very important player and we have been closely monitoring his situation. I have decided that BCCI will take care of his medical expenses and we will airlift Pant today (Wednesday) to Mumbai's Kokilaben Hospital for further treatment. The BCCI will take care of Pant's medical expenses and provide all help," Shah told The Indian Express.
Tags: IndiaRishabh Rajendra PantT20 WC 2016T20 WC 2016 ResultsT20 WC 2016 ScheduleT20 WC 2016 ScorecardT20 World Cup 2016
Match Preview – India vs Sri Lanka, Sri Lanka in India 2022/23, 2nd T20I
CS vs AA Match Prediction Who Will Win Today Super Smash 2022-23 Match 12


This is the webpage for Art Center College of Design, GPK-155: Interactive Design 1. This class is an introduction to the web design technologies of HTML and CSS.
Homework overview, HTML Details and Questions.
Introduction to DIVs and nesting.
Two Recipes: Pick two interesting recipes. Gather images of the ingredients and/or steps. Design a page that is aesthetically pleasing and also instructional, which flows from top to bottom. Exercise what we have learned about DIVs and the Box Model to separate your recipe into sections. Suggestion: An ingredients section and a Steps section. You must use images. Don't obsess over advanced layouts right now. Focus on styling block elements with the box model and continue exploring the basic css selectors.
Each recipe is it's own project folder with it's own, unique html and css files.
Three Quote Cards. Select three quotes from people who inspire you. Create a separate page for each quote. Use a div and use what we learned about the box model to position (in the browser window) and size the quote card as you please. Use a css background-image selector on at least one of your quotes to, for example, include a photo of the person being quoted.
Each quote card should look different and be it's own, separate HTML file. You may use the same CSS file for all three HTML files, but the style of each quote should be different. Consider using different classes and IDs for each type of quote box. Also consider adding links so you can switch between the three and not close/open each new file.
Carl Sagan Biography example from class.
© 2012 Interactive Design 01. All images are copyrighted by their respective authors.


I confess. I love to play with new technology. In my roles over the years as an entrepreneur, CTO and innovator, I have had the opportunity to explore new things on a regular basis.
I would expect our partners to be more understanding and provide better cost solutions for the hospitals instead of continuing to charge high prices for their products.


I'm not a Lance fan but enjoy watching the races when I find them on.
My sister and brother-in-law moved to Germany 2 years ago. My brother-in-law is a huge cycling fan! He's been on cloud 9 the past couple of years following the tour around meeting and chatting with some of the riders. He sends us a monthly "What's new..." report and I hear about all this cycling stuff. I don't understand most of it, but it's cool hearing the enthusiasm in the writing.
Anyway...yup, the dollar is taking a dump in Europe.
im not a big fan of Lance as i dont follow up on these cycling events like this, but still, even the simplest of fools can recognize a person with true valor. i think i have every right to respectfully, and rightfully, say that Mr Armstrong is a hero to many.
its quite inspiring to see a person that has gone through so much, and is still go through alot and still doesnt give up. even if it costs him his life, he still keeps cycling with everything he has. Hell, hes out there competeing against a bunch of healthy bastards and he still wins. thats one huge feat in itself. its like watching Magic Johnson playing basketball even with AIDS, and then the 2 times (i think) that he played with the dream team at a point where his condition had gotten serious. even though Magic Johnson had quit, and his case was differently (to be honest, he did get wat was coming to him), he still did give it his efforts. any other player would have just given up.
Dale Eanhardt, even though he was reaching his old age and had problems, he kept racing. true that he did reach his last few breaths while in a race, but damn, first place in the very last turn. it showed just how great of a driver he was, and its nice that his son didnt quite after that.
its people like these that should be looked up to by everyone. even in their worst of times, they will keep fighting and give it all they have, sometimes even go above their own limits. while we just lie in bed whenever we get a cold or our head hurts a bit, these guys went out there to do wat they loved. sure, i know that many people say, "oh, my grandmother can drive a car in circles all day long", but its just really ignorant people that dont fully understand the whole point of it, nor how damn hard it is to sit in that car driving 160+ mph for 300-600 laps, nor cycling for a really nice long way while your own life is at risk. im sure i could get a top of the line bike and get Mr Armstrong to give me a 5 minute head start, and he would still beat me without even trying even though im quite healthy (besides my stupid sugar problem).
indeed, these guys do deserve to be called outstanding human beings, though i dont think Magic Johnson aint as great, but u get the point of his case. but the rest, those are just people that will never trully be forgotten.
I'm absolutely gobsmacked by his achievements: truly awe-inspiring.
However, I got into an interesting conversation the other day: is his achievement more impressive than Steve Redgrave's 5 consecutive gold medals for rowing in the Olympics? I would say that the Tour de France is a tougher event, but there's a four-year gap between olympics! That means Steve Redgrave has been at the top of his game for 16 years! That's pretty impressive, particularly as his training is hampered by the fact he's diabetic.
"its people like these that should be looked up to by everyone. even in their worst of times, they will keep fighting and give it all they have, sometimes even go above their own limits. while we just lie in bed whenever we get a cold or our head hurts a bit, these guys went out there to do wat they loved. sure, i know that many people say, "oh, my grandmother can drive a car in circles all day long", but its just really ignorant people that dont fully understand the whole point of it, nor how damn hard it is to sit in that car driving 160+ mph for 300-600 laps, nor cycling for a really nice long way while your own life is at risk. im sure i could get a top of the line bike and get Mr Armstrong to give me a 5 minute head start, and he would still beat me without even trying even though im quite healthy (besides my stupid sugar problem)."
I feel the same way. I get a little pain and I think I am dying and these people who have been diagnosed with serious problems continue to strive. It is people like Lance, Dale and my grandmother who remind me that life is worth living. While you are alive...Live...Be Happy...And Keep Moving. Don't stop living life because you have been dealt a bad hand. I am not much of a cycling fan but since I heard about Lance a few years ago, I follow his achievements so I can remember that my pain is just that a pain. It should not stop me. My Hats off to Lance and the many other people like him who are true role-models.
That was what I was thinking from reading the first post. regardless of who actually is the "greatest" they are both amazing athletes in their own right!
I would need to be more informed on both steve and lance, but iether way I wouldn't like to pick!
I think both of them are possitive arguements for genetic engineering, cos I want that gene that makes them both soo damn amazing!
Ive watched Lance on tv ocasionally and i saw some special on ESPN last night. They said that before he was racing on the US Postal Service team, He raced for the Motorola team, and they basically said that he used stereroid and convinced his other teammates to use them as well.
But after several drug tests he never tested positive for the drug.
He raced for the Motorola team, and they basically said that he used stereroid and convinced his other teammates to use them as well.
Well ya. The French have been accusing him for years of dopping. Duh!!! They are jealous. He is an American that is dominating a european sport, they are throw out every excuse that they have namly beacuse he is so good and also because they are French. Please don't be as ignorant as "What", just understand that when you are at the top there are going to be people that try to bring you down.


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Cranrook Lynxes won the fifteenth Cricket World Trophy Final for the second time some fifteen years since their previous victorious appearance in the first ever final.
Their victory came from a productive period after lunch when some 100 runs were plundered off the last ten overs. Before that Old Warwickians had tied down the Lynxes batsmen with some tidy bowling and excellant fielding. Old Warwickians are still probably arguing about this defeat and, in particular' the batting order. OWs were moving alone steadily towards their target only to become becalmed in mid order with big hitters waiting to bat. When they did get in the innings momentum accelerated but it was too late.
OWs ended some 27 runs short to give Lynxes the prize. Gary Marshall was awarded Man of the Match which he was also awarded in 1990 when Peter West attended!
Bowling-Banham 12-2-62-2,Leonard 12-2-49-1,Higgens 12-1-63-4,Reay 12-0-61-0,Wilkinson 7-2-18-01.
Bowling-Tragett 10-0-41-1, T.Hinchcliffe 12-2-26-1,Pickerill 10-1-51-1, Cullen 11-0-34-1, Towner 12-1-54-3.
Result:Cranbrook Lynxes Won by 20 runs.
Toss: Old Warwickians who elected to field.
NB Gary's 94 meant that took over as the leading run-scorer in Lynxes history!
It seemed appropriate that this game was played against the backdrop of an intriguing Ashes match at Old Trafford. For, just as Australia have proved to be England's nemesis during the last few years, so the Old Georgians have been the side to blot the Lynxes' win record in recent cricket weeks on Big Side. This was the seventh fixture between the two sides and the Lynxes had yet to register a win, having only stopped the losing sequence with a draw in 2004.
Going into this game, the Lynxes team had a nice balance of youth and experience. At one end of the spectrum were recent leavers Tom Cullen and Chris Hoggard; at the other, the Benenden Boys Club of Gary Marshall and Peter Newman. In between, was a bunch comprised mostly of new fathers and husbands, who generally looked older and more haggard than either of the more senior pros !
OGs won the toss and, for the sixth time in seven years, opted to bat first on a sunny morning. Lynxes took the field without Charlie Thompson, who was embroiled in client meetings until almost lunchtime. On the other hand, the OGs' top order was bereft of the prolific Gary Notton, who was gingerly making his way down to London after an all day session at the Manchester test the day before. I know which of the two captains felt they were at more of a disadvantage from the absenteeism, but I shall refrain from disclosing that information here.
With only ten fielders to negotiate, the OGs openers got off to a brisk start, running up a half-century stand in the eighth over. Fortunately for Lynxes, this was also the over in which Ollie "Bullet" Blaydon won an LBW decision that aided by the bowler's best friend, known locally as "The Big Side Bounce". Another rank long-hop in Blaydon's next over resulted in a second wicket, this time via a smart catch at point by Cullen. Two wickets were no more than his efforts deserved, but Blaydon was quickly removed from the attack on the basis that he surely couldn't push his luck any further.
Cullen began bowling his useful off-spinners in the 12th over, the start of a 21-over spell that was only interrupted by the lunch break. He soon had his first victim, out stumped thanks to the lightning reflexes of Tim "Tucky Tuckster" Moore. James Thompson chipped in soon afterwards with a successful LBW appeal and the OGs went in at 116 for 4 at lunch.
Blaydon bowled a controlled spell immediately after lunch, the most impressive control being the fact that he managed to keep down the minty lamb kebabs he had just consumed. As in previous years, the OGs' middle order batted extremely well and numbers 5 and 6 both made half centuries to take the score onto 219. Fortunately, Blaydon (3 for 73) and Thompson (2 for 66) removed both batters in quick succession, the latter being aided by a good catch by Newman. A tidy end to his marathon spell saw Cullen picking up two more wickets to finish with 3 for 84. Despite some excellent fielding to restrict their total, the target of 276 appeared to be a daunting task, particularly as an agreed early finish meant that only 50 overs would be available.
Needing around 5.50 an over from the start, the Lynxes reply did not begin well, with Colin Barrett (4) being bowled off his pads in the second over. Marshall and Newman then made slow progress up until tea, with the scoreboard at 29 for 1 after 9 overs. Things did not get much better afterwards: first Newman (14) was adjudged LBW, then Chris Hoggard (2) was run out controversially and an entertaining knock from Charlie Thompson (22) ended with the envitable skied catch. At 58 for 4 and with the required run rate at almost 7, few would have backed the Lynxes to register their first win against this opposition.
However, some wonderful batting from Marshall and Cullen, allied with some sensible bowling changes from the OGs skipper, led to a brilliant 5th wicket partnership of 181. By the time Marshall was out (caught for 76), the equation had been reduced to a gettable 37 runs off 39 balls. Although Giles May (4) was immediately out to a dubious LBW decision, Cullen revived spirits by bringing up his 100 in the next over. After 21 overs of bowling, a largely chanceless ton was truly an amazing achievement. Despite seeing the ball like a football, Cullen was somehow bowled for 110, leaving Moore and Jez Lawson to find 23 runs from 27 balls.
As the tension mounted and the sledging increased, the prospect of a first win over the Old Georgians beckoned. Lawson (11*) alleviated the tension by putting two full tosses away for 4 in one over, but some tidy bowling meant that 6 were still needed off the last over. Moore (13*) sumptuously cut two fours off the 3rd and 5th ball of the final over and the Lynxes were home and dry.
This was one of the most exciting games I can remember in my 15 years of playing Lynxes cricket and it was also played in an excellent spirit by two teams fielding a wide range of age groups. With fixtures becoming more and more difficult to fulfil, this was a timely reminder that "friendly" cricket can be both fiercely competitive and extremely sociable.


I am a resident of Harney County since 1997. I started to take watercolor classes off and on during our 30 years in Bend, Oregon. My husband became the manager of a Pheasant Hunt Club in Nevada, and during our 10-year stint I became serious thanks to my good friend and fellow artist, Velda Mestre. She had a fantastic studio where she encouraged me to expand. "Art in the Mountains" offered us fantastic opportunities to paint with Masters: two separate weeks with Lian Quan Zhen and a wonderful week with Tom Lynch. Burns' own Artista Mary Lou Wilhelm continues to stretch me.


text:
Resume Reading — Composing Your Thoughts
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Culture Neuroscience
Composing Your Thoughts
Music that upsets expectations is what makes your gray matter sing.
Jonathan Berger By Jonathan Berger Illustration by Gérard DuBois June 20, 2013
1. Unshaven and one bit shortTo death and taxes, Benjamin Franklin's binary list of life's certainties, add the expectation that…By Jonathan Berger
1. Unshaven and one bit short
To death and taxes, Benjamin Franklin's binary list of life's certainties, add the expectation that this six-note sequence:
Will continue with this:
Also in Neuroscience
Can't Remember Your Password?
By Virginia Hughes
In this month's Nautilus story, "Safecracking the Brain," I dug into the work of two research groups that are stealing tips from cryptology to better understand how our brains work. While reporting that story, I came across a scientist who's...READ MORE
Although we ponder ways to avoid or evade Franklin's list of unavoidable events, we generally accept this more benign certainty as immutable. To demonstrate, consider this:
The penultimate note of the tune generates such strong and specific anticipation that you are likely finding it difficult to continue reading without resolving the sequence. That anxious pause is key to composition and music's power. It creates a sense of prophetic certainty that allows musicians to play against expectations by thwarting the expected. The controlled manipulation of certainty and likelihood lurks behind those magical moments in which music has caused a shiver or a tear to fall. By infusing uncertainty or surprise into the mix, musicians literally play on our emotions. As a composer myself, I often lead listeners down musical paths that avoid expected arrivals.
The ubiquitous "Shave and a Haircut" and its aborted variant provide ideal stimuli to study how the brain responds to violated expectations. Understanding the mechanisms of violated expectations in music elucidates some of the basic functions of learning, memory, and our perception of time. Along with enhancing our understanding of music, the study of how we process expectations, and learn to revel in ambiguity and uncertainty, is important in understanding how we appreciate many aspects of art and life that involve solving puzzles and deciphering codes, from poetry to painting, science to math.
2. Penny Lane is in my ears
Contrary to the proverbial tree-falling-in-the forest quandary, a musical note that fails to materialize is at least as present in our brain as it would be had it actually sounded. That's because neural substrates of imagined sound correlate with those of perceived external sounds. The more vivid the image of what must happen, the more jarring it is when that certainty is subverted.
In the 1970s, psychologists Robert Rescorla and Allan R. Wagner proposed that we learn one thing leads to another through the discrepancy between what we expect will occur and what actually transpires.1 When expectation is upended, the surprise makes a strong and lasting impression in our brains. Neuroscientists have found that the brain's neural signals, critical to learning, are more active when confronted by surprise.
I have shown that effect in my own studies at Stanford University's Center for Computer Research in Music and Acoustics. A current experiment led by Stanford post-doctoral fellow, Daniel Abrams, utilizing "Shave and a Haircut," shows that prediction involves signaling throughout the brain. Our hypothesis is that although that final note fails to arrive to the ear, the message that it should have arrived may be detectable in the brainstem. That would suggest that the sub-cortical level of the auditory system is being primed according to a belief system that originates in cortical structures up the chain of the auditory network.
A musical note that fails to materialize is at least as present in our brain as it would be had it actually sounded.
My students and I further studied brain response in the absence of a highly expected event. In an experiment led by my Ph.D. student, Blair Kaneshiro, we presented subjects with a sequence of chords, an encapsulation of the most common harmonic progression in tonal music ("Heart and Soul," "Blue Moon," "Penny Lane," and a zillion other pop tunes, as well as a formidable number of works in the classical repertoire). The final chord of the progression repeats the opening tonic chord and creates a firm expectation for resolution to this return:
As we did with "Shave and a Haircut," we occasionally replaced the anticipated resolution with three different types of surprises, one which repeats the penultimate or dominant chord:
One which introduces a new, flatted chord that sits outside the set of available, or diatonic, chords:
And the third, our old friend, silence:
We found the brain recognizes and reacts to violated expectations in highly specific ways. Not only does it register a wrong event, it also—even more strongly—reacts to the missing event. Furthermore, both the cortical and sub-cortical responses to violated expectation—particularly when a silence replaces a firm and specific expectation—suggests a well-integrated network of brain activity that draws from experientially acquired schemas to focus the auditory system on expected events, and to immediately register and react to failed expectations.2
3. Answer the damn phone
Thwarting expectations and creating ambiguity is fundamental to great art. It is also a useful tool for grabbing consumers' attention.
About 15 years ago I boarded a bus in the Middle East and was assaulted by a cacophony of ringing cell-phones, each shrieking the original Nokia ringtone:3
In those days, ringtones were short, unaccompanied melodies ("monophonic" in music parlance), synthesized using a blandly invariant triangle wave—the sort of sound heard in the earliest computer games. Every attempt I made to divert the Nokia ringtone failed. Unable to dislodge the tune from my brain, I mentally transcribed it. Despite its simplicity, I could not decide whether it started on an upbeat:
or on a downbeat:
The more the earworm plagued me, the more I obsessed over the ambiguity. No sooner did I convince myself that it was iambic, the trochaic interpretation took preference. I switched back and forth—"exclusively allocating," as psychologists call it, just as our visual perception responds to Rubin vase/faces and other figure-ground ambiguities.
Rubin's Vase: This image, developed by psychologist Edgar Rubin, is a famous example of visual ambiguity.
Then it struck me that the ambiguity underlies the tune's success as a ringtone. It is innocuous enough to avoid undue arousal, yet present enough to demand attention.
In an informal series of experiments tailored both to musically literate and untrained listeners I asked others to determine where the accent was in the ringtone. Ultimately over 1,200 subjects responded. Of those respondents, 48 percent placed the accent on the initial note and 52 percent on the third note. I contacted Nokia and even they argued among themselves about where the accent fell. Once made aware of the alternative interpretation, few insisted that theirs was unequivocally correct.
When that ringtone rang, our internal metronomes subconsciously struggled to resolve the ambiguity. The only way to stop struggling was to answer the damn phone.
4. The sly Mr. Bach
Not long ago, my daughter, Tamar, was learning the Sarabande from Bach's 5th Suite for solo cello.4
One day she left her cello lesson frustrated because her teacher insisted she play the opening phrase in a manner that made no sense to her. On the surface, the music is unremarkable: five equal note durations followed by a longer note. Yet embedded within this seemingly simple stream are multiple possible interpretations.
Here is a synthesized version of the opening of the Sarabande with no rhythmic or accentual inflection:
The task of the performer is to shape the phrase by biasing one interpretation over the others. Tamar's teacher preferred accenting the first beat of each duration:
While Tamar was hearing this, accenting every third beat:
Another possibility is to accent the second beat of each group, as Yo-Yo Ma often does:5
Of course, in the face of uncertainty, one might avoid commitment to any one interpretation and distort all possibilities, as did the great cellist Pablo Casals in this performance:
At the heart of the problem is carefully sewn uncertainty as to which notes are elaborative and which are structural.6 No one solution consistently works. Well, not unless one considers the least likely solution. Suppose, for a moment, that Bach's purpose was to create a puzzle based on a figure-ground ambiguity, an auditory version of the Rubin face/vase.
Unlike the visually ambiguous images, so loved by M.C. Escher, this temporal figure-ground confusion can (and often is) biased by how the performer chooses to accentuate particular notes. However, when performed with this ambiguity in mind, both performer and listener are challenged to reveal the underlying logic of a work that has a discomforting lack of metric orientation.
SPOILER ALERT: I may be about to ruin this movement for you for the rest of your lives.
Imagine the work is not at all a Sarabande that starts on a downbeat, but is a Courante, in which that first downbeat is a pick-up (a preparatory, unaccented beat followed be an accented beat) and the accentual pattern is in three eight-note patterns.
This is, in fact, the only consistently plausible interpretation—it is the only reading that works throughout without encountering a musical obstacle. The underlying ambiguity of the opening is, in fact, identical to that of our Nokia ringtone—just more ambiguous. Underlying the rather thin veil of a Sarabande, Bach is hiding an entirely separate dance!
This extraordinarily rich ambiguity consisting of multiple possible simultaneous accentual patterns and, ultimately, the simultaneous overlay of two highly contrasting dances is all the more remarkable in that the entire puzzle is embedded within a single unaccompanied melodic line.
5. Playing with time
Why do we humans spend so much time reveling in musical uncertainty? Marvin Minsky, the father of artificial intelligence, suggested an evolutionary perspective over a quarter of a century ago.
Minsky pondered why the highly repetitive theme of Beethoven's Fifth Symphony retains its interest over time despite its enormous redundancy. He hypothesized that just as toddlers learn about spatial relationships by playing with blocks, we learn about temporal relationships by playing with segmented units of time. The "da-da-da-dum" gives us the temporal blocks, and both Beethoven and his interpreters play with those blocks, setting up expectations and artfully dashing them. We seem to be endlessly fascinated by such violated expectations and we revel in the uncertainty preceding them. This fascination starts in infancy with the crescendo and slight pitch rise in the elongated "a" of the "peek-a-boo" game. The expectation for the "boo" is strong and specific, but its time of arrival creates a pleasurable tension not at all unlike that of a pianist playing with the arrival time of a cadence. Beethoven's iconic "da-da-da-dum" grabs us because, along with its redundancy is the variability of what interval will follow those three "da-da-das," which is often, though not always, the same.
The entire puzzle is embedded within a single unaccompanied melodic line.
In 2007, neuroscientists Sridharan Devarajan and Vinod Menon, music cognition researchers Chris Chafe and Daniel Levitin, and I designed a study to measure what's going on in the brain during those intervals. Specifically, we were interested in how the brain responds to musical phrase boundaries (the musical equivalent of a grammatical pause such as a comma or period), cadences, and the pause between movements in a symphony. A number of remarkable features emerged from the study.
First, the anticipation of the arrival of the cadence was evident in the group of subjects with no musical training—even preceding the temporal cues in the music itself. It seems that, simply by experiencing music—even with little consciousness or attention paid—listeners develop an awareness of musical structure. Second, the peak of activation occurred during the silence, suggesting that, as Minsky proposed, these temporal segmentation boundaries are critical in how humans organize events in time.
As shown in the following video clip, two distinct and seemingly dependent functional networks are activated: a ventral fronto-temporal network followed by a dorsal front-parietal network. The former has been shown in numerous studies to be critical in detecting violated expectations, which, by their very nature, chop the flow of perceived time with a discrete segmentation boundary. The dorsal network, meanwhile, is active in detecting salient features, directing attention to a particular object, and manipulating and monitoring these selected features in working memory. In short, one network works to predict imminent structural pauses, and the other kicks in to direct and maintain attention and update our sense of what is salient.
Essentially our study suggests that we anticipate that all-important structural silence and use that pause to update our working memory, implicitly supporting the notion that, beyond sheer pleasure, music serves a purpose in teaching and constantly re-enforcing the temporal component in processing uncertainty.7
6. Coda
In a classic episode of Monty Python's Flying Circus, Beethoven sits at the piano searching for what will follow "da-da-da-dum." At the brink of discovery he is interrupted, first by his myna bird, then by his wife in search of the sugar bowl, then the jam spoon ("It was in the sugar bowl," she says), then by asking poor Ludwig if he wanted peanut butter or sandwich spread with his tea, then vacuuming. Each time he finds the missing note, he loses it again.
It's a hilarious scene but illustrates a truth about the musical experience: at its heart lies the formulation of expectations, and the way the composer and performer chose to manage them. Even non-musicians are actively engaged, at least subconsciously, in tracking the ongoing development of a musical piece and forming predictions about what will come next.
Since music typically unfolds upon an underlying stream of pulses (the tactus), expectations as to when something will occur can be formulated along with expectations as to what will occur. Great music—and even, as we have seen, not-so-great music—plays off of these expectations. Most importantly, the temporal playground of music provides a virtual classroom for learning to revel in uncertainty8, and a laboratory to practice navigating ambiguity.
My violin concerto, Jiyeh, willfully wavers between building firm expectations destined to be violated, and imposing a sense of uncertainty and vagueness. The work, a cry against the senseless absurdity of war, is based upon an ecological disaster caused by a rocket attack on an aging power plant on the Lebanese coast. The explosion triggered a massive oil spill in the Mediterranean Sea that went undocumented, save for satellite photographs from NASA's Advanced Spaceborne Thermal Emission and Reflection Radiometer satellite.
Following the sequence of daily photographs, I was able to measure the spread of the spill and turn this information into musical sound. The outer two movements frame the spread. In the first movement, the string orchestra plays the oozing expansion. In the final movement, the solo violin performs the evolution of the ornate, perversely beautiful Baroque patterns at the edges of the spill. The violin solo in the central movement, Adagio (heard below), is a mournful cry of anguish, characterized by repeatedly establishing a strong expectation for resolution, but persistently refusing the expected arrival until the very end of the movement.
Jonathan Berger is the Denning Family Provostial Professor in Music at Stanford University, where he teaches composition, music theory, and cognition at the Center for Computer Research in Music and Acoustics. His two chamber operas based on auditory hallucinations, Theotokia and The War Reporter, premiered in April 2013 at Stanford. His violin concerto, "Jiyeh," was recently released on Harmonia Mundi's Eloquentia label.
1. Rescorla, R.A. & Wagner, A.R., "A theory of Pavlovian conditioning: Variations in the effectiveness of reinforcement and nonreinforcement." In Classical Conditioning II, A. Black & W.F. Prokasky, Jr. (eds.), (1972).
2. The graphs below represent the averaged event-related potentials (ERP), or brain response to stimulus, from EEG recordings of 19 subjects and almost 7,000 trials (5,928 with the expected chord and 988 with violated expectations). These are 2 of 128 electrodes.
The integers on the X-axis represent beats, or each of the five chords in the sequence. The region of interest is from immediately after 5 (the final event) and beyond. Note the extreme response to the silence (the red line) just after 5, as well as the decreased ERP just following the silence.
3. The Nokia ringtone quotes a 1902 composition by Spanish composer and guitarist Francisco Tárrega (1852-1909). Julian Treasure, author of the book Sound Business, who has done marketing work for Nokia, calculated that the melody rang about 1.8 billion times a day—about 20,000 times per second. Poor Tárrega missed out on a goldmine.
4. This recording of Christopher Costanza's performance of the Sarabande from J.S. Bach's 5th Suite for Solo Cello is used by permission of the performer. Costanza's extraordinary performances of the entire set of the Bach Cello Suites along with a wealth of materials on these works is available at http://costanzabach.stanford.edu/.
5. Although this synthetic version may render this interpretation odd, it conforms to the traditional accentual pattern of the Sarabande.
6. The Sarabande from Bach's 5th Suite avoids overt reference to the metric and harmonic schemas that typify the Sarabande. A more typical Sarabande, this one from Bach's 3rd Cello Suite, provides a clear example of the stately triple dance with its elongated duration on each second beat:
J S. Bach, Sarabande from the 3rd Cello Suite (C-Major-BWV-1009), performed by Christopher Costanza.
Here's a typical Courante from Bach's 1st Cello Suite:
J.S. Bach, Courante from the 1st Cello Suite (G-Major-BWV-1007), performed by Christopher Costanza.
7. Supplemental data from Sridharan, Levitin, Berger, Chafe, and Menon, "Neural Dynamics of Event Segmentation in Music: Converging Evidence of Dissociable Ventral and Dorsal Networks," Neuron, Volume 55, Issue 3, pages 521-532 (2007). Caption from paper: "Brain responses starting ten seconds prior to the structural pause (the transition between movements) until ten seconds after the silence. The brain responses are predominantly right lateralized. With time, activity shifts along a ventral-dorsal axis, with the ventral regions—ventrolateral prefrontal cortex (VLPFC) and posterior temporal cortex (PTC)—active before and during the early part of the transition, and the dorsal regions—dorsolateral prefrontal cortex (DLPFC) and posterior parietal cortex (PPC)—active during and following the transition."
8. Reveling in uncertainty is not always a joy. Loud noise creates uncertainty and can induce hallucinations. Thankfully our brains contain a gating mechanism that inhibits startled responses and modulates our sensitivity to noise. Individuals with schizophrenia lack this inhibitory mechanism. Their impaired sensorimotor mechanisms make them prone to a state of heightened startle, which triggers hallucinations. My recent chamber opera, Theotokia, presents the ritualistic delusional world ofthe protagonist, Leon, who suffers from schizophrenia. At the opening of the opera (heard below), Leon hears the chanting of congregants and the invocations of their spiritual leader, Mother Anne. The work charts the metamorphosis of Mother Anne from beckoning spiritual leader, to mythical and terrifying mother of god, to the voice of Leon's actual mother. Scored for five singers, chamber ensemble and ambisonic digital audio (a three-dimensional sound field), Theotikia places the audience inside Leon's tormented mind.
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Biografia
Ha un figlio che anch'egli si chiama Nickey, nato tra il 1991 e il 1992, che il 2 febbraio 2013 ha ricevuto una condanna a 60 anni di carcere per avere sparato e ucciso un amico.

Caratteristiche tecniche
Soprannominato "Nick The Quick" per la sua velocità, era in grado di fare ottimi passaggi dietro la schiena. Era molto bravo a tirare da 3 punti e la sua tecnica di tiro prevedeva un rilascio molto rapido del pallone. Era anche in grado di andare a canestro e scaricare palloni per i compagni. Nel corso della sua carriera è stato limitato dal proprio carattere difficile.

Carriera

Il college e i Lakers
Van Exel frequenta il college alla University of Cincinnati, giocando brillanti stagioni e portando la squadra fino alle Final Four. La sua fama al di fuori del campo non è impeccabile, e con alcune defezioni ai provini personali prima del draft del 1993, le sue quotazioni scendono molto. Viene così selezionato al secondo giro del draft con la 37ª chiamata assoluta da parte dei Los Angeles Lakers. Arriva ai Lakers in uno dei periodi peggiori della storia della franchigia, ovvero dopo il ritiro di due stelle del calibro di Magic Johnson e James Worthy. Nel suo primo anno, la franchigia è giovane ed inesperta, e si muove intorno a Vlade Divac; per la prima volta dopo anni non arrivano i play-off nonostante Van Exel dia un contributo importante.

L'anno dopo, con l'arrivo di Cedric Ceballos, i Lakers migliorano notevolmente, tornando anche ai play-off; in una serie che causa una grande sorpresa, i Lakers eliminano una delle favorite della Western Conference, i Seattle SuperSonics; al secondo turno si devono però arrendere ai San Antonio Spurs di David Robinson. Nella stagione 1995-96 arriva la grande sorpresa del ritorno in campo di Magic Johnson. I Lakers tornano ad essere una delle squadre più seguite degli Stati Uniti, ma questo non piace molto a Van Exel. Infatti il suo ruolo è per molti lati coincidente a quello di Johnson e il suo minutaggio cala di parecchio, e tra l'altro i rapporti con Johnson non sono stati per niente dei migliori. A tutto ciò si aggiunge il fatto che rispetto all'anno prima i Lakers in post season peggiorano il loro bilancio, perdendo al primo turno contro gli Houston Rockets. I malumori in spogliatoi sono notevoli e Van Exel crea una fronda in spogliatoio che spinge Magic al secondo ritiro.

L'arrivo di O'Neal e la cessione
Nell'estate 1996 il general manager dei Lakers, Jerry West, riesce a fare due colpi importanti, portare Shaquille O'Neal a Los Angeles dagli Orlando Magic e prendere al draft, in cambio di Divac, uno dei migliori liceali degli Stati Uniti: Kobe Bryant. Van Exel continua a giocare bene, ma si rende conto che il suo peso all'interno della squadra sta calando. I risultati di squadra vedono i Lakers eliminati dagli Utah Jazz sia nella stagione 1996-97 sia nella stagione 1997-98, la prima volta al secondo turno dei play-off, la seconda nelle finali di Conference. Nella prima delle 2 stagioni, durante i playoffs, Bryant ha sbagliato 3 tiri decisivi contro gli Utah Jazz che sono costati ai gialloviola l'eliminazione e Van Exel ha criticato il coach dei Lakers Del Harris per questa scelta. Nell'ultima stagione (1997-1998) ha disputato l'unico All-Star Game della sua carriera.

Nella post-season del 1998, nel prepartita della gara che avrebbe visto gli Utah Jazz eliminare i Lakers, il playmaker losangelino si lasciò andare al grido "Cancun!" negli spogliatoi. Il gesto, volto a ricordare ai compagni che presto sarebbero stati liberi di andare in vacanza (Cancun è una nota meta vacanziera, situata in Messico), non piacque molto a Shaquille O'Neal e Kobe Bryant, che chiesero ed ottennero la cessione di Van Exel.

Le stagioni a Denver
Van Exel gioca a Denver delle ottime stagioni dal punto di vista individuale, ma i risultati di squadra vedono i Nuggets assenti da tutte le gare di play-off. A metà della stagione 2001-02, viene però scambiato ad una squadra di vertice, i Dallas Mavericks insieme a Raef LaFrentz e Avery Johnson, in cambio di Juwan Howard e Tim Hardaway. A Dallas gioca come sesto uomo, alle spalle di Steve Nash o più raramente al suo fianco. Nei play-off del 2002-03 Van Exel gioca alcune prestazioni veramente eccezionali, soprattutto nel secondo turno, contro i Sacramento Kings, quando, uscendo dalla panchina segna diverse volte più di 30 punti, è uno degli artefici dell'approdo dei Mavericks alla finale di Conference. Dallas si deve però arrendere agli Spurs anche a causa dell'infortunio occorso a Dirk Nowitzki. Nell'estate 2003 viene però nuovamente ceduto.

Le varie peregrinazioni e l'approdo agli Spurs
In uno scambio che vede coinvolti anche Popeye Jones, Avery Johnson, e dall'altra parte Antawn Jamison e Danny Fortson, Van Exel va di nuovo in una squadra di bassa classifica, i Golden State Warriors. Nei Warriors gioca forse la sua peggiore stagione in carriera, essendo spesso infortunato o addirittura con poca voglia di giocare. Disputa così soltanto 39 partite su 82. Nell'estate 2004 viene di nuovo ceduto, questa volta ai Portland Trail Blazers, in cambio di Dan Dickau e Dale Davis. Anche a Portland gioca poco e male, tanto che nell'estate 2005 i Blazers lo rilasciano, dandogli la possibilità di firmare con chi vuole. Van Exel, come il suo ex compagno di squadra a Dallas, Michael Finley, decide di guadagnare di meno ma di cercare di vincere un titolo. Si accasa così agli Spurs, squadra campione NBA, andando a fare il cambio di Tony Parker. Nei play-off però gli Spurs vengono sconfitti nelle semifinali di Conference dai Dallas Mavericks, lasciando così Van Exel ancora privo di un titolo. Dopo questa ultima esperienza, caratterizzata dalle più basse medie statistiche in carriera, il giocatore annuncia il ritiro.

Palmarès
 NCAA AP All-America Third Team (1993)
 NBA All-Rookie Second Team (1994)
 NBA All-Star (1998)

Note

Bibliografia

Altri progetti

Collegamenti esterni

Sportivi afroamericani


A Metropolitan Planning Area (MPA) is the geographic area determined by agreement between the Metropolitan Planning Organization (MPO) for the area and the Governor, in which the metropolitan transportation planning process is carried out. MPO planning area boundaries are established according to the federal metropolitan planning regulations (23 CFR 450, Subpart C) http://www.gpo.gov/fdsys/pkg/FR-2007-02-14/pdf/07-493.pdf. The MPA must encompass at a minimum the Census Urbanized Area and the contiguous geographic area likely to become urbanized within the next 20 years. This data was constructed from the NYS civil boundary files that are owned and maintained by the New York State Office of Cyber Security & Critical Infrastructure Coordination (CSCIC). Federal regulation requires that states designate MPOs in Census Urbanized Areas with populations of 50,000 or more. MPOs are responsible for ensuring that federal-aid transportation projects in the metropolitan area result from a continuing, comprehensive and cooperative transportation planning process. New York State has thirteen MPOs.


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Home » General » HSI Sport Horse and Sport Pony Foal Championship Final 2018
HSI Sport Horse and Sport Pony Foal Championship Final 2018
The 2018 Sport Horse and Sport Pony Foal Championship takes place at 6pm this Friday 19th October at Cavan Equestrian Centre.
Following the five regional qualifiers that took place from July to September the winners from each section will present to be crowned Champion Show Jumping Foal filly and colt for horses and ponies as well as a Champion Eventing Foal filly and colt. There will also be a special prize for the overall best traditionally-bred foal in the horse section.
The Championship for horses has a prize fund of almost €30,000 and this year the inaugural sections for ponies has a prize fund of €10,000. The aim of the championship is to identify, evaluate and reward breeders who have bred a foal that has the potential to be competitive at the highest level in the disciplines of showjumping or eventing.
Please click here to view the Foal Championship Final Start list 2018.
Further details on the championship can be downloaded, Information Note Sport Horse & Pony Foal Championship 2018


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Aircraft Fuel Systems Market Projected to Reach US$ 6,869.7 Million in 2023
Aircraft Fuel Systems Mar..
The global aircraft fuel systems market is projected to grow at a healthy rate over the next five years to reach US$ 6,869.7 million in 2023. Increasing aircraft deliveries fuelled by rising passenger traffic, increasing demand for unmanned aerial vehicles, an advancement in the fuel system technology, and rising global aircraft fleet size are the major factors that are bolstering the demand for fuel systems in the aircraft industry.
Furthermore, airlines are demanding fuel-efficient aircraft to mitigate their operational cost as fuel roughly cost 30% of the airlines' operational cost. Aircraft manufacturers are increasingly incorporating advanced lightweight materials in both structural and semi-structural components to reduce the weight of the aircraft. The reduction in the weight of aircraft considerably improves the fuel efficiency. For instance, B787 and A350XWB, the two recently developed next-generation aircraft, constitute composite materials up to 53% of the total structural weight of the aircraft. Fuel systems are also not untouched with such dynamics and experiencing a greater usage of advanced lightweight materials.
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Aircraft Fuel Systems Market Size, Share, Trend, Forecast, & Competitive Analysis: 2019-2024
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Nicola Coughlan Speaks Out About Concerns Over Bridgerton's "Color-Blind" Casting
Nicola Coughlan hopes that Bridgerton will forever help to change the way people think about period pieces.
The actress, who stars as Penelope Featherington on the hit Netflix drama series, appeared on British daytime talk show This Morning on Tuesday, Jan. 12. During the visit, Nicola explained that her conversation with co-star Adjoa Andoh helped her to understand the importance of how their show handled casting people of color.
"I'm speaking to Adjoa Andoh … who's brilliant as Lady Danbury," she said. "I said, 'Color-blind casting, it's great, it's totally the right thing.' And she said, 'Well, it's not, in a way, because it sort of erases race and erases people's struggles.' And I thought, That had never occurred to me, never. And I think the world that we have created is a completely reimagined world, is a fantasy."
Regardless of how it became what it is, Nicola is proud that audiences have clearly embraced the vision of the show that is based on the book series by Julia Quinn and also stars Regé-Jean Page as Simon, the Duke of Hastings and Phoebe Dynevor as Daphne Bridgerton.
"I would say to people, 'You can watch Game of Thrones, and you can completely suspend your disbelief that there are dragons in this world,'" she continued. "For Bridgerton, you can suspend your disbelief that we have a black queen and a black duke, and they're the most fantastic actors."
This article was originally published by Eonline.com. Read the original article here.
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