text:
package com.opengamma.component.factory.source;

import java.util.LinkedHashMap;
import java.util.Map;

import org.joda.beans.Bean;
import org.joda.beans.BeanBuilder;
import org.joda.beans.BeanDefinition;
import org.joda.beans.JodaBeanUtils;
import org.joda.beans.MetaProperty;
import org.joda.beans.Property;
import org.joda.beans.PropertyDefinition;
import org.joda.beans.impl.direct.DirectBeanBuilder;
import org.joda.beans.impl.direct.DirectMetaProperty;
import org.joda.beans.impl.direct.DirectMetaPropertyMap;

import com.opengamma.component.ComponentInfo;
import com.opengamma.component.ComponentRepository;
import com.opengamma.component.factory.AbstractComponentFactory;
import com.opengamma.component.factory.ComponentInfoAttributes;
import com.opengamma.core.marketdatasnapshot.MarketDataSnapshotSource;
import com.opengamma.core.marketdatasnapshot.impl.DataMarketDataSnapshotSourceResource;
import com.opengamma.core.marketdatasnapshot.impl.DelegatingSnapshotSource;
import com.opengamma.core.marketdatasnapshot.impl.RemoteMarketDataSnapshotSource;
import com.opengamma.master.marketdatasnapshot.MarketDataSnapshotMaster;
import com.opengamma.master.marketdatasnapshot.impl.MasterSnapshotSource;

/**
 * Component factory providing the {@code MarketDataSnapshotSource}.
 */
@BeanDefinition
public class MarketDataSnapshotSourceComponentFactory extends AbstractComponentFactory {

  /**
   * The classifier that the factory should publish under.
   */
  @PropertyDefinition(validate = "notNull")
  private String _classifier;
  /**
   * The flag determining whether the component should be published by REST (default true).
   */
  @PropertyDefinition
  private boolean _publishRest = true;
  /**
   * The underlying snapshot master.
   */
  @PropertyDefinition(validate = "notNull")
  private MarketDataSnapshotMaster _marketDataSnapshotMaster;

  //-------------------------------------------------------------------------
  /**
   * Initializes the snapshot source, setting up component information and REST.
   * Override using {@link #createMarketDataSnapshotSource(ComponentRepository)}.
   *
   * @param repo  the component repository, not null
   * @param configuration  the remaining configuration, not null
   */
  @Override
  public void init(ComponentRepository repo, LinkedHashMap<String, String> configuration) {
    MarketDataSnapshotSource source = createMarketDataSnapshotSource(repo);

    ComponentInfo info = new ComponentInfo(MarketDataSnapshotSource.class, getClassifier());
    info.addAttribute(ComponentInfoAttributes.LEVEL, 1);
    info.addAttribute(ComponentInfoAttributes.REMOTE_CLIENT_JAVA, RemoteMarketDataSnapshotSource.class);
    repo.registerComponent(info, source);
    if (isPublishRest()) {
      repo.getRestComponents().publish(info, new DataMarketDataSnapshotSourceResource(source));
    }
  }

  /**
   * Creates the snapshot source without registering it.
   *
   * @param repo  the component repository, only used to register secondary items like lifecycle, not null
   * @return the snapshot source, not null
   */
  protected MarketDataSnapshotSource createMarketDataSnapshotSource(ComponentRepository repo) {
    MarketDataSnapshotSource source = new MasterSnapshotSource(getMarketDataSnapshotMaster());
    source = new DelegatingSnapshotSource(source);
    return source;
  }

  //------------------------- AUTOGENERATED START -------------------------
  ///CLOVER:OFF
  /**
   * The meta-bean for {@code MarketDataSnapshotSourceComponentFactory}.
   * @return the meta-bean, not null
   */
  public static MarketDataSnapshotSourceComponentFactory.Meta meta() {
    return MarketDataSnapshotSourceComponentFactory.Meta.INSTANCE;
  }

  static {
    JodaBeanUtils.registerMetaBean(MarketDataSnapshotSourceComponentFactory.Meta.INSTANCE);
  }

  @Override
  public MarketDataSnapshotSourceComponentFactory.Meta metaBean() {
    return MarketDataSnapshotSourceComponentFactory.Meta.INSTANCE;
  }

  //-----------------------------------------------------------------------
  /**
   * Gets the classifier that the factory should publish under.
   * @return the value of the property, not null
   */
  public String getClassifier() {
    return _classifier;
  }

  /**
   * Sets the classifier that the factory should publish under.
   * @param classifier  the new value of the property, not null
   */
  public void setClassifier(String classifier) {
    JodaBeanUtils.notNull(classifier, "classifier");
    this._classifier = classifier;
  }

  /**
   * Gets the the {@code classifier} property.
   * @return the property, not null
   */
  public final Property<String> classifier() {
    return metaBean().classifier().createProperty(this);
  }

  //-----------------------------------------------------------------------
  /**
   * Gets the flag determining whether the component should be published by REST (default true).
   * @return the value of the property
   */
  public boolean isPublishRest() {
    return _publishRest;
  }

  /**
   * Sets the flag determining whether the component should be published by REST (default true).
   * @param publishRest  the new value of the property
   */
  public void setPublishRest(boolean publishRest) {
    this._publishRest = publishRest;
  }

  /**
   * Gets the the {@code publishRest} property.
   * @return the property, not null
   */
  public final Property<Boolean> publishRest() {
    return metaBean().publishRest().createProperty(this);
  }

  //-----------------------------------------------------------------------
  /**
   * Gets the underlying snapshot master.
   * @return the value of the property, not null
   */
  public MarketDataSnapshotMaster getMarketDataSnapshotMaster() {
    return _marketDataSnapshotMaster;
  }

  /**
   * Sets the underlying snapshot master.
   * @param marketDataSnapshotMaster  the new value of the property, not null
   */
  public void setMarketDataSnapshotMaster(MarketDataSnapshotMaster marketDataSnapshotMaster) {
    JodaBeanUtils.notNull(marketDataSnapshotMaster, "marketDataSnapshotMaster");
    this._marketDataSnapshotMaster = marketDataSnapshotMaster;
  }

  /**
   * Gets the the {@code marketDataSnapshotMaster} property.
   * @return the property, not null
   */
  public final Property<MarketDataSnapshotMaster> marketDataSnapshotMaster() {
    return metaBean().marketDataSnapshotMaster().createProperty(this);
  }

  //-----------------------------------------------------------------------
  @Override
  public MarketDataSnapshotSourceComponentFactory clone() {
    return JodaBeanUtils.cloneAlways(this);
  }

  @Override
  public boolean equals(Object obj) {
    if (obj == this) {
      return true;
    }
    if (obj != null && obj.getClass() == this.getClass()) {
      MarketDataSnapshotSourceComponentFactory other = (MarketDataSnapshotSourceComponentFactory) obj;
      return JodaBeanUtils.equal(getClassifier(), other.getClassifier()) &&
          (isPublishRest() == other.isPublishRest()) &&
          JodaBeanUtils.equal(getMarketDataSnapshotMaster(), other.getMarketDataSnapshotMaster()) &&
          super.equals(obj);
    }
    return false;
  }

  @Override
  public int hashCode() {
    int hash = 7;
    hash = hash * 31 + JodaBeanUtils.hashCode(getClassifier());
    hash = hash * 31 + JodaBeanUtils.hashCode(isPublishRest());
    hash = hash * 31 + JodaBeanUtils.hashCode(getMarketDataSnapshotMaster());
    return hash ^ super.hashCode();
  }

  @Override
  public String toString() {
    StringBuilder buf = new StringBuilder(128);
    buf.append("MarketDataSnapshotSourceComponentFactory{");
    int len = buf.length();
    toString(buf);
    if (buf.length() > len) {
      buf.setLength(buf.length() - 2);
    }
    buf.append('}');
    return buf.toString();
  }

  @Override
  protected void toString(StringBuilder buf) {
    super.toString(buf);
    buf.append("classifier").append('=').append(JodaBeanUtils.toString(getClassifier())).append(',').append(' ');
    buf.append("publishRest").append('=').append(JodaBeanUtils.toString(isPublishRest())).append(',').append(' ');
    buf.append("marketDataSnapshotMaster").append('=').append(JodaBeanUtils.toString(getMarketDataSnapshotMaster())).append(',').append(' ');
  }

  //-----------------------------------------------------------------------
  /**
   * The meta-bean for {@code MarketDataSnapshotSourceComponentFactory}.
   */
  public static class Meta extends AbstractComponentFactory.Meta {
    /**
     * The singleton instance of the meta-bean.
     */
    static final Meta INSTANCE = new Meta();

    /**
     * The meta-property for the {@code classifier} property.
     */
    private final MetaProperty<String> _classifier = DirectMetaProperty.ofReadWrite(
        this, "classifier", MarketDataSnapshotSourceComponentFactory.class, String.class);
    /**
     * The meta-property for the {@code publishRest} property.
     */
    private final MetaProperty<Boolean> _publishRest = DirectMetaProperty.ofReadWrite(
        this, "publishRest", MarketDataSnapshotSourceComponentFactory.class, Boolean.TYPE);
    /**
     * The meta-property for the {@code marketDataSnapshotMaster} property.
     */
    private final MetaProperty<MarketDataSnapshotMaster> _marketDataSnapshotMaster = DirectMetaProperty.ofReadWrite(
        this, "marketDataSnapshotMaster", MarketDataSnapshotSourceComponentFactory.class, MarketDataSnapshotMaster.class);
    /**
     * The meta-properties.
     */
    private final Map<String, MetaProperty<?>> _metaPropertyMap$ = new DirectMetaPropertyMap(
        this, (DirectMetaPropertyMap) super.metaPropertyMap(),
        "classifier",
        "publishRest",
        "marketDataSnapshotMaster");

    /**
     * Restricted constructor.
     */
    protected Meta() {
    }

    @Override
    protected MetaProperty<?> metaPropertyGet(String propertyName) {
      switch (propertyName.hashCode()) {
        case -281470431:  // classifier
          return _classifier;
        case -614707837:  // publishRest
          return _publishRest;
        case 2090650860:  // marketDataSnapshotMaster
          return _marketDataSnapshotMaster;
      }
      return super.metaPropertyGet(propertyName);
    }

    @Override
    public BeanBuilder<? extends MarketDataSnapshotSourceComponentFactory> builder() {
      return new DirectBeanBuilder<MarketDataSnapshotSourceComponentFactory>(new MarketDataSnapshotSourceComponentFactory());
    }

    @Override
    public Class<? extends MarketDataSnapshotSourceComponentFactory> beanType() {
      return MarketDataSnapshotSourceComponentFactory.class;
    }

    @Override
    public Map<String, MetaProperty<?>> metaPropertyMap() {
      return _metaPropertyMap$;
    }

    //-----------------------------------------------------------------------
    /**
     * The meta-property for the {@code classifier} property.
     * @return the meta-property, not null
     */
    public final MetaProperty<String> classifier() {
      return _classifier;
    }

    /**
     * The meta-property for the {@code publishRest} property.
     * @return the meta-property, not null
     */
    public final MetaProperty<Boolean> publishRest() {
      return _publishRest;
    }

    /**
     * The meta-property for the {@code marketDataSnapshotMaster} property.
     * @return the meta-property, not null
     */
    public final MetaProperty<MarketDataSnapshotMaster> marketDataSnapshotMaster() {
      return _marketDataSnapshotMaster;
    }

    //-----------------------------------------------------------------------
    @Override
    protected Object propertyGet(Bean bean, String propertyName, boolean quiet) {
      switch (propertyName.hashCode()) {
        case -281470431:  // classifier
          return ((MarketDataSnapshotSourceComponentFactory) bean).getClassifier();
        case -614707837:  // publishRest
          return ((MarketDataSnapshotSourceComponentFactory) bean).isPublishRest();
        case 2090650860:  // marketDataSnapshotMaster
          return ((MarketDataSnapshotSourceComponentFactory) bean).getMarketDataSnapshotMaster();
      }
      return super.propertyGet(bean, propertyName, quiet);
    }

    @Override
    protected void propertySet(Bean bean, String propertyName, Object newValue, boolean quiet) {
      switch (propertyName.hashCode()) {
        case -281470431:  // classifier
          ((MarketDataSnapshotSourceComponentFactory) bean).setClassifier((String) newValue);
          return;
        case -614707837:  // publishRest
          ((MarketDataSnapshotSourceComponentFactory) bean).setPublishRest((Boolean) newValue);
          return;
        case 2090650860:  // marketDataSnapshotMaster
          ((MarketDataSnapshotSourceComponentFactory) bean).setMarketDataSnapshotMaster((MarketDataSnapshotMaster) newValue);
          return;
      }
      super.propertySet(bean, propertyName, newValue, quiet);
    }

    @Override
    protected void validate(Bean bean) {
      JodaBeanUtils.notNull(((MarketDataSnapshotSourceComponentFactory) bean)._classifier, "classifier");
      JodaBeanUtils.notNull(((MarketDataSnapshotSourceComponentFactory) bean)._marketDataSnapshotMaster, "marketDataSnapshotMaster");
      super.validate(bean);
    }

  }

  ///CLOVER:ON
  //-------------------------- AUTOGENERATED END --------------------------
}

redpajama_set_name: RedPajamaGithub


text:
Q: Android equivalence of iOS ActionSheet What is the Android equivalence of the UIActionSheet in the iOS SDK? I am working on a React-Native project and need to maintain the use of native controls where possible. I have not come across an npm package or other that makes use of the respective plartform 'actionsheet'. They all seem to use native actionsheet in iOS, and a javascript mock of the iOS actionsheet for Android (which makes it non-native on Android). If I can know what android shows where iOS shows an actionsheet then I can make use of the RN Android component for android and actionsheet for iOS. I hope this is a clear question.

A: For ActionSheet like in IOS you can use This Library
Usage
Add this dependency to your app level grsadle
dependencies {
    compile 'com.baoyz.actionsheet:library:1.1.7'
}

Create ActionSheet and show
ActionSheet.createBuilder(this, getSupportFragmentManager())
            .setCancelButtonTitle("Cancel")
            .setOtherButtonTitles("Item1", "Item2", "Item3", "Item4")
            .setCancelableOnTouchOutside(true)
            .setListener(this).show();

Methods

*

*setCancelButtonTitle() Cancel button title, (String)

*setOtherButtonTitles() Item buttons title,(String[])

*setCancelableOnTouchOutside() Touch outside to close, (boolean)

*setListener() set a Listener to listen event

*show() Show ActionSheet, return ActionSheet Object,call dismiss() method of ActionSheet to close.

A: We use BottomSheetDialog to do the same work in Android. Not exactly the same and may require a bit more code to write compared to iOS. But the end result is similar.

References:
https://developer.android.com/reference/android/support/design/widget/BottomSheetDialog.html
https://medium.com/glucosio-project/15fb8d140295

A: I had implement similar functionality using BottomSheetDialog in Android.
BottomSheetDialog mBottomDialogNotificationAction;

private void showDialogNotificationAction() {
    try {
        View sheetView = mActivity.getLayoutInflater().inflate(R.layout.dialog_bottom_notification_action, null);
        mBottomDialogNotificationAction = new BottomSheetDialog(mActivity);
        mBottomDialogNotificationAction.setContentView(sheetView);
        mBottomDialogNotificationAction.show();

        // Remove default white color background
        FrameLayout bottomSheet = (FrameLayout) mBottomDialogNotificationAction.findViewById(android.support.design.R.id.design_bottom_sheet);
        bottomSheet.setBackground(null);
    } catch (Exception e) {
        e.printStackTrace();
    }
}

dialog_bottom_notification_action.xml

<?xml version="1.0" encoding="utf-8"?>
<LinearLayout xmlns:android="http://schemas.android.com/apk/res/android"
    android:layout_width="match_parent"
    android:layout_height="wrap_content"
    android:orientation="vertical"
    android:padding="10dp">

    <LinearLayout
        android:layout_width="match_parent"
        android:layout_height="wrap_content"
        android:background="@drawable/rounded_corner"
        android:orientation="vertical">

        <LinearLayout
            android:layout_width="match_parent"
            android:layout_height="wrap_content"
            android:clickable="true"
            android:foreground="?attr/selectableItemBackground"
            android:orientation="vertical"
            android:padding="15dp">

            <TextView
                android:layout_width="wrap_content"
                android:layout_height="wrap_content"
                android:layout_gravity="center"
                android:text="Apply Leave"
                android:textColor="#1E82FF"
                android:textSize="16sp" />
        </LinearLayout>

        <View
            android:layout_width="match_parent"
            android:layout_height="0.5dp"
            android:background="#E5E5E5" />

        <LinearLayout
            android:layout_width="match_parent"
            android:layout_height="wrap_content"
            android:clickable="true"
            android:foreground="?attr/selectableItemBackground"
            android:orientation="vertical"
            android:padding="15dp">

            <TextView
                android:layout_width="wrap_content"
                android:layout_height="wrap_content"
                android:layout_gravity="center"
                android:text="Regularisation"
                android:textColor="#1E82FF"
                android:textSize="16sp" />
        </LinearLayout>
    </LinearLayout>

    <LinearLayout
        android:layout_width="match_parent"
        android:layout_height="wrap_content"
        android:layout_marginTop="15dp"
        android:background="@drawable/rounded_corner"
        android:clickable="true"
        android:foreground="?attr/selectableItemBackground"
        android:orientation="vertical"
        android:padding="15dp">

        <TextView
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:layout_gravity="center"
            android:text="Close"
            android:textColor="#1E82FF"
            android:textSize="16sp"
            android:textStyle="bold" />
    </LinearLayout>
</LinearLayout>

rounded_corner.xml

<?xml version="1.0" encoding="utf-8"?>
<shape xmlns:android="http://schemas.android.com/apk/res/android">
    <solid android:color="#ffffff" />

    <corners android:radius="@dimen/size_10dp" />
</shape>

A: Simliar to iOS's action sheet equivalent in Kotlin
import com.google.android.material.bottomsheet.BottomSheetDialog

override fun onCreate(savedInstanceState: Bundle?) {
    super.onCreate(savedInstanceState)
    setContentView(R.layout.activity_main)

    val bottomSheetDialog = BottomSheetDialog(this)
    val bottomSheetView = this.layoutInflater.inflate(R.layout.bottom_sheet_layout, null)
    bottomSheetDialog.setContentView(bottomSheetView)

    actionSheetButton.setOnClickListener {
        showDialogNotificationAction(bottomSheetDialog)
    }

    bottomSheetView.button1.setOnClickListener {
        Toast.makeText(this, "Button 1 Clicked", Toast.LENGTH_LONG).show()
    }
    bottomSheetView.button2.setOnClickListener {
        Toast.makeText(this, "Button 2 Clicked", Toast.LENGTH_LONG).show()
    }
    bottomSheetView.button3.setOnClickListener {
        Toast.makeText(this, "Button 3 Clicked", Toast.LENGTH_LONG).show()
    }
    bottomSheetView.button4.setOnClickListener {
        Toast.makeText(this, "Button 4 Clicked", Toast.LENGTH_LONG).show()
    }
    bottomSheetView.cancelAttachment.setOnClickListener {
        bottomSheetDialog.dismiss()
    }
}

private fun showDialogNotificationAction(bottomSheetDialog: BottomSheetDialog) {
    bottomSheetDialog.show()

    val bottomSheetDialogFrameLayout =
        bottomSheetDialog.findViewById<FrameLayout>(com.google.android.material.R.id.design_bottom_sheet)
    bottomSheetDialogFrameLayout?.background = null
}

bottom_sheet_layout.xml
<?xml version="1.0" encoding="utf-8"?>
<LinearLayout xmlns:android="http://schemas.android.com/apk/res/android"
    android:layout_width="match_parent"
    android:layout_height="wrap_content"
    android:orientation="vertical"
    android:padding="10dp">

    <LinearLayout
        android:layout_width="match_parent"
        android:layout_height="wrap_content"
        android:background="@drawable/bottom_sheet_rounded_corner"
        android:orientation="vertical">

        <LinearLayout
            android:layout_width="match_parent"
            android:layout_height="41dp"
            android:foreground="?attr/selectableItemBackground"
            android:orientation="vertical">

            <TextView
                android:layout_width="wrap_content"
                android:layout_height="wrap_content"
                android:layout_gravity="center"
                android:layout_marginTop="14dp"
                android:text="Android Action Sheet"
                android:textColor="#909090"
                android:textSize="12sp" />
        </LinearLayout>

        <View
            android:layout_width="match_parent"
            android:layout_height="0.5dp"
            android:background="#D1D1CF" />

        <LinearLayout
            android:id="@+id/button1"
            android:layout_width="match_parent"
            android:layout_height="52dp"
            android:clickable="true"
            android:foreground="?attr/selectableItemBackground"
            android:orientation="vertical"
            android:padding="15dp">

            <TextView
                android:layout_width="wrap_content"
                android:layout_height="wrap_content"
                android:layout_gravity="center"
                android:text="Button 1"
                android:textColor="#007CFE"
                android:textSize="18sp" />

        </LinearLayout>

        <View
            android:layout_width="match_parent"
            android:layout_height="0.5dp"
            android:background="#D1D1CF" />

        <LinearLayout
            android:id="@+id/button2"
            android:layout_width="match_parent"
            android:layout_height="52dp"
            android:clickable="true"
            android:foreground="?attr/selectableItemBackground"
            android:orientation="vertical"
            android:padding="15dp">

            <TextView
                android:layout_width="wrap_content"
                android:layout_height="wrap_content"
                android:layout_gravity="center"
                android:text="Button 2"
                android:textColor="#007CFE"
                android:textSize="18sp" />

        </LinearLayout>

        <View
            android:layout_width="match_parent"
            android:layout_height="0.5dp"
            android:background="#D1D1CF" />

        <LinearLayout
            android:id="@+id/button3"
            android:layout_width="match_parent"
            android:layout_height="52dp"
            android:clickable="true"
            android:foreground="?attr/selectableItemBackground"
            android:orientation="vertical"
            android:padding="15dp">

            <TextView
                android:layout_width="wrap_content"
                android:layout_height="wrap_content"
                android:layout_gravity="center"
                android:text="Button 3"
                android:textColor="#007CFE"
                android:textSize="18sp" />

        </LinearLayout>

        <View
            android:layout_width="match_parent"
            android:layout_height="0.5dp"
            android:background="#D1D1CF" />

        <LinearLayout
            android:id="@+id/button4"
            android:layout_width="match_parent"
            android:layout_height="52dp"
            android:clickable="true"
            android:foreground="?attr/selectableItemBackground"
            android:orientation="vertical"
            android:padding="15dp">

            <TextView
                android:layout_width="wrap_content"
                android:layout_height="wrap_content"
                android:layout_gravity="center"
                android:text="Button 4"
                android:textColor="#007CFE"
                android:textSize="18sp" />
        </LinearLayout>

    </LinearLayout>

    <LinearLayout
        android:id="@+id/cancelAttachment"
        android:layout_width="match_parent"
        android:layout_height="wrap_content"
        android:layout_marginTop="15dp"
        android:background="@drawable/bottom_sheet_rounded_corner"
        android:clickable="true"
        android:foreground="?attr/selectableItemBackground"
        android:orientation="vertical"
        android:padding="15dp">

        <TextView
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:layout_gravity="center"
            android:text="Cancel"
            android:textColor="#FFFFFF"
            android:textSize="16sp" />
    </LinearLayout>
</LinearLayout>

bottom_sheet_rounded_corner.xml
<?xml version="1.0" encoding="utf-8"?>
<shape xmlns:android="http://schemas.android.com/apk/res/android">
    <solid android:color="#ffffff" />

    <corners android:radius="10dp" />
</shape>

A: There is also ModalBottomSheetLayout, e.g.:
@Composable
fun appView(viewModel: AppViewModel) {
    ModalBottomSheetLayout(
            sheetContent = { modalSheetView(viewModel) },
            sheetState = viewModel.bottomModalState
    ) {
        // Rest of the app goes here.
    }
}

@Composable
fun modalSheetView(viewModel: AppViewModel) {

    val buttonModifier = Modifier.padding(all = 20.dp).fillMaxWidth()
    val buttonTextStyle = TextStyle(fontSize = 20.sp)

    Column(horizontalAlignment = Alignment.CenterHorizontally,
        modifier = Modifier.fillMaxWidth())
    {
        TextButton(onClick = { /* Handle click */ },
                modifier = buttonModifier)
        {
            Text("Do something", style = buttonTextStyle)
        }
        TextButton(onClick = { /* Handle click */ },
                modifier = buttonModifier)
        {
            Text("Something else", style = buttonTextStyle)
        }
        Spacer(modifier = Modifier.height(20.dp))
        TextButton(onClick = { /* Handle click */ },
                modifier = buttonModifier)
        {
            Text("Cancel", style = buttonTextStyle)
        }
    }

}

redpajama_set_name: RedPajamaStackExchange


text:
import React = require('react')

declare function OverloadComponent<U>(): JSX.Element;
declare function OverloadComponent<U>(attr: {b: U, a: string, "ignore-prop": boolean}): JSX.Element;
declare function OverloadComponent<T, U>(attr: {b: U, a: T}): JSX.Element;

// Error
function Baz<T extends {b: number}, U extends {a: boolean, b:string}>(arg1: T, arg2: U) {
    let a0 = <OverloadComponent a={arg1.b}/>
    let a2 = <OverloadComponent {...arg1} ignore-prop />  // missing a
}


"The Alexander Technique will benefit anyone whether they are an elite athlete or whether they just wish to live life without the aches and pains that many people suffer and accept as part of life."
The are many benefits of learning The Alexander Technique - some not immediately obvious. The lastest research, in relation to back pain, shows lessons deliver long-term results in reducing pain and discomfort - and many, including myself, find the pain never returns.
And it's not just pain-relief where you might find benefit. Athletes, actors, musicians, dancers and business people all find lessons help to enhance performance.
But you don't have to be a performer to gain from this remarkable, yet simple technique.
The first thing most pupils notice when starting Alexander lessons isthey feel lighter and taller. This happens when habitual muscle tension is released. You may not be aware of it, but the majority of adults carry too much tension and as a result, pull their body's out of out of shape.
Poise is something most of us have lost by the time we're in our early twenties - for some it's even earlier!
Many conditions can be improved by removing the excessive tension from your body. For example, breathing, circulation and digestion, all function better in a relaxed, poised body.
The Alexander Technique will first help you to recognise poor muscular habits, and then show you how to 'unlearn' them. Using guided movements, you'll gain a better understanding of how your body works.
You'll discover how to stand, sit and move with less effort, and learn how to reduce tension in your neck, shoulders and back to promote freer movement.
The Alexander Technique is not a treatment that finishes when you leave the room - it's a new skill that will stay with you for the rest of your life!
Once you learn to release the muscles pulling your body down and out of shape, your reflexes will support your body with minimal effort - it actually takes less effort to stand poised than to slump!
Applying the methods you learn in a lesson can remove the cause of many of the following conditions.
If you have a condition not mentioned here, please contact me for more information.
I'm a member of The Society of Teachers of The Alexander Technique (STAT), and as the foremost body of teachers in the UK, we're committed to encouraging scientific research into Alexander's work.
Whilst the methods we use may seem subtle, Alexander spent many years experimenting with movement to develop his technique. A number of prominent scientists have fully backed his work and confirmed his theory was based on sound, scientific practice.
If you're interested in finding out how The Alexander Technique could benefit you, please contact me today to discuss your requirements. I teach at clinics in Bedford, Godmanchester, Milton Keynes, Northampton and Olney - for details of venues, please click here.


text:
CB Adams: Portrait of a Symbol Featured At New Art Saint Louis Exhibit
The new juried visual art exhibition "Symbolic" at Art Saint Louis, 1223 Pine St., St. Louis, MO, 63103, features a black and white, silver gelatin photograph by CB Adams, principal at Qwerky Studio. Jurors Terrence E. Dempsey and Cheri Hoffman, chose the photograph, titled "Concepcion" for this multi-media exhibition, which features 54 artworks by 49 regional artists that depict, incorporate or are inspired by symbols.
Adams submitted his contemplative photograph of a rustic wooden cross because the subject is a symbol by itself and stands, symbolically, for much more. "At first, I thought perhaps the cross would be too obvious, too easy, but I kept returning to the image because of the interplay between light and shadow, the balance between the arched alcove and the shaft of light, and the texture of the cross, the stone wall in the background and the noticeable grain caused by shooting in extremely low light. Those elements create a quiet mood that is just as 'symbolic' or expressive as the subject itself," Adams said.
Concepcion by CB Adams of Qwerky Studio, $275 currently at Art Saint Louis
Adams discovered the cross while exploring the Mission Concepcion, which was dedicated in San Antonio, TX, in 1775 and is the oldest unrestored stone church in America. After shooting what felt like unremarkable, "touristy" images in the sanctuary, he took a staircase that he thought would lead him the exit. Instead, he found himself in a lower level that was unadorned, except for the cross located in a small alcove under the staircase.
"I was drawn instinctively to the simplicity of the subject, but I didn't think too much about it. I only took two images and then moved on to find the exit. I 'rediscovered' it a couple of months later as I editing my shots from that trip. It perfectly captured the atmosphere of this historic structure and symbolized in a personal way my experience there," he said.
"Concepcion" will be on view at Art Saint Louis from January 13 through February 14. The print is approximately 11x14 inches and is framed with overall dimensions of approximately 20x24. It is available for sale through the gallery for $275.
Tags: cbadams, artsaintlouis, Art Saint Louis, Qwerky Studio, Qwerky Photography, qwerkystudio, qwerkyphotography, stlouisphotography, stlouisphotographer
Yucking It Up: Two CB Adams Photographs Featured in New Foundry Art Centre Exhibit
The Foundry Art Centre, 520 N. Main Center, St. Charles, MO, called for entries on the theme "Joke's On You" and artists from across the country responded, including local writer and photographer CB Adams. Jurors Carrie M. Becker and Christian Lawrence chose two of Adams's three photographic submissions for this all-media show that explores "how artists highlight the humor and lightness in a society filled with gravitas."
Adams's silver gelatin black and white photographs, I Wanna Be Dirty and Laughing Matters, were taken in antique malls in downtown St. Louis and Santa Barbara, CA. "I'm always drawn to antique shops, especially the really good ones where the owners creatively arrange the items. I do not believe in staging items myself. I only shoot things as I come upon them, a photojournalistic approach drilled into me at the University of Missouri School of Journalism," he explained.
I Wanna Be Dirty by CB Adams, Qwerky Studio
Adams would have missed the opportunity to submit work for The Joke's On You if he hadn't attended a Halloween party hosted by his neighbor, Pierre Borgeade, a painter, who also has work in the exhibit. Borgeade urged Adams to consider submitting so they could be "neighbors" on the walls as well as in real life.
"That night, after all the trick-or-treaters had gone home, I reviewed the call for entry that encouraged levity through visual expression," Adams said. "As someone with a wide irreverent streak, I liked that the theme, and when I saw that Carrie Becker was the juror, I knew I had to submit."
Adams was familiar with Becker's work. Since 2010, Becker has been building dioramas of home interiors and photographing them so that they appear life-sized. Her 2011-12 series, "Barbie Trashes Her Dreamhouse", went viral and was featured on more than 50 websites, including Huffington Post and Time. Adams was also intrigued by Lawrence's accomplishments as a standup comedian, sketch comedy performer, writer, host and producer.
"Her work reminds me of a line from Woody Allen, that 'Life doesn't imitate art, it imitates bad television.'" Adams said. "I had never met Becker, but from her art, I understood her slightly askew, off-kilter way of looking at the world."
"Joke's On You" will be showing from Dec. 15, 2017 through Jan. 26, 2018 with an opening reception on Dec. 15 from 5:30 to 8 p.m. I Wanna Be Dirty has overall dimensions of 20 x 24 inches and Laughing Matters measures 16 x 20 inches. Each is available for sale through the gallery.
Adams is a St. Louis-based professional writer, short story author, and fine art photographer. He has exhibited in numerous St. Louis-area gallery exhibitions at The Foundry Art Centre, Art St. Louis, and St. Louis Artists' Guild, among others, as well as nationally in Boston, Sacramento, New York, Salt Lake City and elsewhere. In 2008, Adams was featured in the "Unrefined Light: Images by Plastic Cameras and their Friends" exhibit at The Foundry.
Becker has an MFA in sculpture from Kansas Sate University and a BFA in photography from Southern Illinois University-Carbondale. She is represented by Shearburn Gallery in St. Louis. In 2015 she began a new series that depicts abandoned mansions in disrepair. Lawrence has been been involved with many types of comedy since the year 2000, and has performed throughout the United States & the UK. His comedy variety show, Bare Knuckle Comedy, is the longest-running independent comedy show in St. Louis. In 2015, Lawrence created History Shmistory, a show in which comedians perform comedy as a historical figure, in costume, in character. The show has toured throughout the world.
Laughing Matter by CB Adams, Qwerky Studio
Tags: Foundry Art Centre, St. Louis Photographer, St. Charles Photographer, Qwerky Photography, Qwerky Studio, St Charles Artist
CB Adams Stacks Up at Framations Memory: Joy & Loss Exhibit
Random Access by CB Adams at Framations Gallery's Memory: Joy & Loss Exhibit
A black and white photograph by CB Adams titled Random Access was awarded an Honorable Mention by juror Lynn Friedman Hamilton during the opening of the juried art exhibition, Memory: Joy & Loss, at Framations Art Gallery, 218 North Main St., St. Charles, MO. Friedman, former director of the Brentwood Gallery in St. Louis, selected the photograph for this exhibition featuring artworks inspired by memory and its function in people's lives.
Random Access was one of three entries submitted by Adams, who is principal of Qwerky Studio. "Because art is so subjective, I never know which pieces will be accepted into a themed show and whether any will be given special recognition. When I dropped off my entries, the one that I thought was thematically strongest (a grid with four variations of a toy camera image of a mural dedicated to the memory of slain teenager Michael Brown), wasn't chosen for the show. I was surprised -- pleasantly surprised -- that Random Access was recognized by Ms. Friedman with an Honorable Mention," Adams said.
Random Access depicts a stack of fictitious movie scripts with their titles handwritten on the bottom edge. Adams photographed the stack during a recent trip to Los Angeles. Adams had forgotten about the photograph until he was scrolling through his digital library that presently contains more than 20,000 images, both digital and film-based.
"When I was making my selections for submission, Random Access was not in my initial pool of candidates. I was in a bit of a hurry when this image stopped me cold. I didn't take this photograph with this show in mind, but it does perfectly capture the random, mysterious nature of recalling memories," Adams said.
Random Access and Adams's other photograph in the exhibition, I Can't Remember, is a sepia-tinged black and white image. Such toning is not part of his usual photograph printing process, but a podcast by Brooks Jensen, a photographer, author and publisher of LensWork magazine, opened him to other possibilities.
"I usually prefer a straightforward, contrasty black-and-white image, but I was influenced by something I heard in a Jensen podcast about serving the intent of a photograph using any means or enhancement available to a photographer. I just feel the images are enhanced with that bit of sepia tone," Adams said.
I Can't Remember by CB Adams
Memory: Joy & Loss will be showing from Dec. 8, 2017 to Jan. 18, 2018. Visitors may vote for a Best in Show throughout the exhibition. Random Access and I Don't Remember have overall dimensions of 20 x 24 inches and are available for sale through the gallery.
Adams is a St. Louis-based professional writer, short story author, and fine art photographer. He has exhibited in numerous St. Louis-area gallery exhibitions at The Foundry Art Centre, Art St. Louis, and St. Louis Artists' Guild, among others, as well as nationally in Boston, Sacramento, New York and Salt Lake City. At Framations, Adams received a Second Place and Honorable Mention award in Beyond the Lens VIII at in 2014.
Juror Lynn Friedman Hamilton has extensive experience in the art world in St. Louis. In 6 years as director of Brentwood Gallery, she curated more than 70 shows that traveled regionally and internationally. Long a champion of older artists, she spent more than 25 years organizing social group activities for older artists and adults, before forming the not-for-profit organization Maturity and Its Muse.
Tags: CB Adams, Qwerky Studio, Qwerky Photography, framations custom framing and art gallery, St Charles Photographer, St. Louis Photographer, Fine Art Photography

redpajama_set_name: RedPajamaCommonCrawl


As always we have taken care that the descriptions can be used to enhance most fantasy settings and fit into your existing campaign or situation as easily as possible. The Pathfinder Roleplaying Game statistics are offered for your convenience, but the characters are well-enough developed that you could use them in other game systems, because they don't depend on their stats to be interesting.
Loaded with character descriptions, backgrounds, motivations, plot hooks, artwork, and a fresh, updated layout, Shards of the Heart (PFRPG) is made for you, to ease the lives of Harried Game Masters everywhere.
This is part of the 'Harried Game Master' line of products, providing the materials we've always wished to have.
Tabletop Adventures - Whatever you play, we've got your back!


RECYCLING IS ?. - RECYCLING..
of the original forest area in the U.S. has been cut down.
for manufacturers to use toxic chemicals, essential when using virgin materials.
use less water and they don't pollute the water nearly as much.
lead -- escapes into the air and leaches into groundwater.
spew out all kinds of air pollutants, and are often located in urban neighborhoods.


Previous bank claims against the debtor have been already satisfied by court.
On Tuesday, April 28, VTB will submit to the Moscow Arbitration Court a new claim of forced recovery from the mining and metallurgical company "Mechel" of debt under the loan agreement in the amount of 2.66 billion rubles. This "News" said a source close to VTB Group.
- VTB will continue to sue the company. At the same time the bank is in talks with "Mechel", which began to extinguish delinquent interest, but until the full amount is not paid, - he said.
This lawsuit will be the third in a row. The two previous lawsuits bank to "Mechel" the court has already granted. April 9, he decided to recover from the metallurgical company in favor of the Bank 50 billion rubles, of which more than 44 billion rubles - the principal debt, 3.2 billion rubles - interest on the loan and the more than 1 billion rubles - a penalty. The court decision will come into force one month, if the "Mechel" it does not appeal. April 24 Chelyabinsk Metallurgical Plant (a subsidiary of "Mechel") filed a complaint against this decision, considering that the date is not yet scheduled.
December 5, 2014 the Moscow Arbitration sought to "Mechel & raquo; almost 3 billion rubles of debt Interest VTB lawsuit filed in September, 2014. "Mechel" has appealed the December decision of the court, the court will consider the complaint April 29, 2015.
In mid-April, "Mechel" brokered Rothschild Group sent to the Sberbank debt restructuring plan, which included the agreement on the conversion of debt into shares. The head of Sberbank German Gref, then said that the bank will sue the claim of "Mechel" bankruptcy, if not will be offered options that are acceptable to the restructuring. Asked about the timing of the treatment to the court, Gref said it would happen "as soon as the payments come time and they will not pay." Speaking about the negotiations with the company, Gref said that they have so far failed.
- We have them the conditions formulated two weeks, probably earlier. The fact that they sent to us, it is unacceptable for us ... Consultant - Company Rothschild Group - and left us no longer returned, - said chairman of the board of Sberbank. - They (consultants) have said that they will consult and agree with the fact that these conditions have nacceptable, so that they will consult and come up with new proposals.
The representative of the Rothschild Group, James Friel and representatives of "Mechel" declined to comment.
- What has been asked to "Mechel" and its consultants did not suit creditor - it was about the shares of companies that do not generate income, - said a source close to the negotiations.
VTB has consulted with a number of banks to restructure the debt of "Mechel", but the results yet, announced in early April, the head of VTB Andrey Kostin. He noted the willingness of "Mechel" to repay the arrears. "One of the key points on the" Mechel "is a delay in repayment, here is what I call must have a positive solution to the debt settlement, in the context of the settlement of the problem - pay off the debt and more it does not allow", - he said Kostin told reporters.
"But the repayment delay and the need to pay interest on time - this is, of course, a condition that is the basis of the agreements", - he added.
In early March, VTB notified the other creditors (Gazprombank and Sberbank) that within the next month plans to resolve the situation with "Mechel" debt. If we can not reach an agreement, VTB was going to apply to the arbitration court of the place of registration of "Mechel" a statement of bankruptcy.
The third lawsuit says that so far the negotiations came to nothing lead.
- Guide "Mechel" acting weird - instead of any arrears interest, they extinguish debts parts. At the same time it requires to revise your bid. Bank immediately announced position: "You extinguish all debts on interest, and start negotiations on the rate." But "Mechel" interest and not repaid. As a result of the failure to grow and it has grown to several billion. This, in our opinion, unfair position, which ultimately can lead to the owner of the steel company's loss of all assets, - said a source close to VTB Group.
Lawyers interviewed by "Izvestia", suggested that VTB has chosen a strategy to reclaim the money from the "Mechel"through the procedure of enforcement proceedings, without resorting to bankruptcy of the company, as it will be faster.
- After the entry into force of a court decision VTB may initiate enforcement proceedings and to foreclose on any property of the debtor, regardless of whether it is a pledge or not. If the assets will be sufficient to repay the debt - to initiate a bankruptcy procedure is not necessary, - said, "Izvestia" lawyer, partner of law firm «S & K Vertical" Mikhail Ilyin.
According to analyst company BCS Oleg Peter and Paul, now "Mechel" to service the interest on bank loans due to the weakening of the ruble against the dollar. According to the forecast, in 2014 the company could get about $ 700 million in profit before taxes, interest, depreciation and amortization (EBITDA).
At the end of January 2015 the debt of "Mechel" to creditors of $ 6.3 billion company should Gazprombank $ 1.4 billion and 26.8 billion rubles, Sberbank -. 61.8 billion rubles, and € 29 million, VTB - 61 billion rubles and € 29 million. Another $ 1 billion "Mechel"should the syndicate of banks on pre-export loan.
The poorest oligarch: who will rescue Igor Zyuzin after the story with "the doctor"


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Essays on the Evidences, Doctrines, and Practical Operation of Christianity
By Joseph John Gurney
TO CHRIST PREEXISTENT,
tionably correct; and we may therefore adduce this passage in the Psalms, as affording a satisfactory evidence of our proposition, that Christ preexistent was himself, God or Jehovah.
In the sixth chapter of the Prophecies of Isaiah, Jehovah is described as actually appearing in the temple-as made manifest to the prophet in a vision of glory; and it was then that the prophet heard the voice of Jehovah saying, "Whom shall I send, and who will go for us?.....Go and tell this people, Hear ye, indeed, but understand not; and see ye, indeed, but perceive not: make the heart of this people fat, and make their ears heavy, and shut their eyes; lest they see with their eyes, and hear with their ears, and understand with their heart, and convert, and be healed:" ver. 9, 10. Here, according to the theology of the Jews, there must have been an appearance of the Word of Jehovah; and it is the Word of Jehovah, who in the Targum on the passage is introduced as thus addressing the prophet. Here also, according to the principles of divine truth, as held by the apostles of Jesus Christ, there must have been an appearance of the Son of God, who is himself the "Word of Jehovah," and whom these early Christians were ever accustomed to regard as the " Image of the invisible God," in whom alone the Father is made manifest: see John i, 18. xvii, 6; I John iv, 12; II Cor. iv, 4; Col. i, 15; Heb. i, 3. Why then should it excite in us the least degree of surprise, when we find an evangelist incidentally declaring, that the glory which the prophet Isaiah saw on this memorable occasion, was the glory of Christ? After relating, that although
5 See ver. 8. "I heard the voice of Jehovah, saying," is, in the Targum, paraphrased, "I heard the voice of the Word of Jehovah, saying.",
WHO WAS WITH GOD, AND WAS GOD.
Jesus had performed "so many miracles" in the presence of the Jews, "yet they believed not in him," the apostle John accounts for the circumstance, by citing this remarkable prophecy respecting the judicial blindness and obduracy of that bewildered people; and adds, "These things said Esaias, when he saw HIS glory, and spake of HIM :" John xii, 37-41.
Such an incidental application to Jesus Christ, of a well-known passage of the Old Testament relating to Jehovah, is perhaps more really forcible as an evidence of the deity of our Lord, than the most deliberate and direct affirmation of that doctrine; for such an application affords a plain indication, that the doctrine in question was currently, and (if the term be not improper) familiarly, admitted and understood, both by the authors of the New Testament, and by those persons, in their own age, for whose use their writings were intended. Nevertheless, the truth to which the apostle has thus incidentally adverted, he has elsewhere deliberately and directly affirmed.
I venture to assert, that there is not to be found in the whole Scriptures a single passage, which bears stronger marks of deliberation, decision, and solemn emphasis-not one of which the authority in point of reading is more irrefragably determined-not one of which the interpretation is more truly placed beyond the reach of an unsound and infidel criticism—not one in which the highest meaning of the divine name is more plainly indicated by the context-than that memorable passage in which this apostle has promulgated to the church in all generations, the absolute deity of Christ preexistent. "In the beginning was the Word,
and the Word was with God, and the Word was GOD: the same was in the beginning with God:" John i, 1, 2.
On reviewing the contents of the present dissertation, we are to remember that, in the numerous passages of the New Testament which speak of our Lord's having proceeded from God, and of his having descended from heaven and come into the world, there is a distinct recognition of the fact of his preexistence with God and in heaven-that from other declarations of Scripture, we learn, that Christ was in being before John the Baptist; in the days of Job; before Abraham; in the beginning; before the foundation of the world, and even from the days of eternity—that he thus preexisted, not in the nature of men or of angels, or of any other order of creatures, but in that of the Supreme Being himself, as appears from a variety of reasons-first, because he was from everlasting, and is described in terms which are elsewhere employed to denote the First Great Cause— secondly, because he was in the form of God, and thought it not robbery to be equal with God-thirdly, because he was the Only-begotten Son of God, of the same nature with the Father-fourthly, because he was the Word, or mediating Person by whom the Father effected all his purposes, and whose attributes and operations prove him to have possessed that actual deity, which the Jews were ever accustomed to ascribe to him-fifthly, because to him is expressly and repeatedly attributed the work of the creationsixthly, because he was the Light and Life of men, the spiritual Lord and Governor of the people of God, the Angel in whom was the name, character, and power of the Almighty-and lastly, because it is
both directly and indirectly declared by the sacred writers, that he was Jehovah and God.
While, therefore, the preexistent Messiah was plainly distinguished from the Father Almighty, as the Only-begotten Son of that Father-as one mediating is distinguished from one originating, and as one sent is distinguished from one sending-it is abundantly evident from our premises (whether they are considered separately or viewed as a whole) that he actually subsisted in the nature of God-that he truly participated therefore in the unity of the Father's essence. And let it be observed that as he subsisted in the nature of God, so he subsisted in that nature only. The whole of the information communicated in Scripture respecting the person and character of the Son of God, in his preexistence, points to his deity, and to deity alone. In connection with those other stages in our Lord's history which are subsequent to the event of his incarnation, the Scriptures frequently promulgate the doctrine of his humanity as well as that of his deity; and some persons have proceeded so far in error, as to consider the statements which have respect to Jesus as a man, to be subversive of those which have respect to him as God. But as far as relates to Christ preexistent, there is no room for any mistake of the kind; because the testimonies of Scripture on the subject of his deity in connection with his preexistence, are not only plain and decided, but simple and unmixed. The whole substance of those testimonies is in fact found concentrated in the doctrine of the apostle, that the Word was in the beginning—that the Word was with God-and that the WORD WAS GOD.
ON JESUS CHRIST, DURING HIS ABODE ON EARTH,
In one of the preceding Essays, I have adverted to the many ancient prophecies which describe the human descent, birth, life, ministry, violent death, and resurrection of the Messiah; and also to the actual accomplishment of those predictions as it is recorded in their respective histories, by the four evangelists. Now I conceive that no one who takes a just and comprehensive view of these prophecies on the one hand, and of the Gospel narratives on the other, can refuse to admit the doctrine of the real and proper humanity of Jesus Christ. He who descended from Abraham, from Judah, and from Jesse, and was made of the seed of David, according to the flesh" -who was born of the virgin Mary, and lay a helpless infant in the manger-who increased in "stature," and in "wisdom," as he advanced in years-who performed all the laborious functions of a minister and a prophet—who thought, and spake, and wept, and was afflicted, and prayed, like ourselves-who, lastly, expired on the cross, and was consigned a corpse to the grave-was unquestionably MAN-a creature of God, endued with a human body, and a human soul.
And who was that Person who thus became incarnate, was born, lived, died, and rose again, a man? It was he who shared the glory of the Father before the world was the only-begotten Son of God, who


Pep Guardiola once referred to Tottenham as "the Harry Kane team," but Son Heung-Min proved otherwise by helping knock Man City out of the Champions League.
Chelsea dropped a vital two points to Burnley in their race for the top four, but even worse, they lost Callum Hudson-Odoi to injury.
Attention now shifts to Wednesday evening and a huge Manchester derby that could go a long way towards settling this season's title race.
The league's last unbeaten record went when Seattle was beaten by LAFC, which remains the team to catch. Meanwhile, what has happened in Kansas City?


Wharton Center chose four public elementary schools (grades 3-5) from eligible applicants for the 2015- 16 academic year. The selected schools are Lewton and Post Oak Elementary, both in Lansing and Doyle Rider and Holmes STEM in Flint. The after-school program is free to these participating schools.
Each of the schools will take part in a 17-week musical theater residency. Wharton Center and Disney Theatrical Group have trained and assigned Wharton Center teaching artists, who will conduct the afterschool sessions. Performance rights, educational support materials and guidance from the teaching artists will be provided at no cost to the schools. The teaching artists' roles are to help produce the chosen Disney musical by working with educators to create a sustainable theater program in these schools.
The programs will culminate in a Disney KIDS musical at the school site. Disney KIDS musicals, created in partnership with Music Theater International (MTI), are about 30 minutes in length and have been adapted from the classic Disney stories 101 Dalmatians, Aladdin, The Aristocats, Cinderella, The Jungle Book, The Lion King, Sleeping Beauty, and Winnie the Pooh.
On May 31, 2016, Wharton Center will host a Student Share Celebration, where each school will have the extraordinary opportunity to perform a selection from its show on Wharton Center's Cobb Great Hall stage for an audience of fellow students, family members and friends.
Because the $100,000 grant will support two years of programming, another four schools will be selected next year. Disney Musicals in Schools helps keep arts programs in schools and utilizes the unique world of musical theater to build positive relationships among students, faculty, staff, parents and the community. Students work in teams to develop and restore self-confidence, and to strengthen communication and collaboration skills, all while learning and enjoying the process of creating a musical theater production.
Disney Musicals in Schools was launched in response to Disney Theatrical Group's concern that low-income students in urban public schools were not afforded equitable access to the arts. After successfully offering the program in New York City schools, Disney Theatrical Group began partnering with organizations in other communities around the United States. Learn more at DisneyMusicalsinSchools.com .


Rough day out at narrinyeri. Hurt my feet and quads while transitioning from soft to hard ground continuously.
Made errors on the 1st control. Many wobbles with my bearings. Navigated really well to 9 because I was reading the ground well.
Easy run. Last one at morialta. Legs stiff.


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Restrictive diets "always backfire." The nutritionist suggests finding nutritious foods that you enjoy
It's a new year, which means many of us have made a vow to fulfill lofty health aspirations just one week after we stretched our bellies on one of the greatest indulgent days of the year, Christmas Day.
But there is some good news – the stomach organ is muscular, so it is flexible and can return to its normal shape.
As for our New Year's resolutions, health educator Dr. Fiona Wheeler says so Much better for building a good relationship with food to reach long term goals Restricting calories or eliminating entire food groups.
abdominal mechanics
Stomach capacity can usually fluctuate from a capacity of 500ml to about 2 liters, says Dr Wheeler, who specializes in nutrition and food psychology at Queensland University of Technology (QUT).
The stomach contains "mechanoreceptors," she says, which sense when there is a stretch in the stomach and can help signal a "feeling of fullness" to the brain.
Fiona Wheeler says research shows that restrictive diets don't produce long-term results. (ABC News: Erin Cooper)
"When we do a stomach stretch frequently, as we often do during the Christmas season, we tend to be less able to feel a stretch in the stomach," says Dr. Wheeler.
Fortunately, Dr. Wheeler says the stomach can return to its pre-Christmas size in just a few days.
Space to play or pause, M to mute, left and right arrows to search, up and down arrows for volume.
He listens
An international obesity expert says diet alone is not enough. It takes a team of surgeons and psychologists to make it happen.
But she cautions people to take a "restrictive" approach to their diet if they hope to lose weight this year.
"Restrictions aren't good psychologically—it means we actually get a higher drive to eat the things we tell ourselves we shouldn't eat," says Dr. Wheeler.
"Humans like to protect their autonomy at every turn. That's just the way we do it.
"So restricting is always counterproductive, and whatever we tell ourselves we can't eat is what our brain is giving us." [the thing] We want to eat. We are all rebels at heart."
To get your stomach and brain in sync, Dr. Wheeler says, you need to listen closely to your body.
If you or someone you know needs help with an eating disorder:
"It's the realization that when we're hungry, especially after we've eaten for a while, our hunger cues may not be calibrated in the first place. [usual] "The way," you say.
To apply this, she says you need to envision what a "fun" eating day would look like for you, including nutrition Foods that make you feel energized, and eat such foods for a few days.
It's important to include "staple foods," Dr. Wheeler says, which are basically less processed, nutrient-dense food items.
These include meat, seafood, vegetables, fruits, grains and dairy products.
"The body needs essential foods to function properly…and if you eat too many non-essential foods, you won't have room in your day." [nutritional meals]", as you say.
A recipe for long-term success
"Diets don't work," says Dr. Wheeler.
In essence, she says, eating well is relatively simple — you just need to make sure you enjoy the food you choose.
"[Think about] What makes you feel good when you take it. "The type of food and the way you eat it and use it as a guide when getting back into the rhythm of 2023," says Dr. Wheeler.
"If you eat something you don't want to eat, it's counterproductive whether or not it aligns with the Australian Guide to Healthy Eating."
She says it's essential to find foods that fuel your body that you actually enjoy, whether it's a green salad or sides of roasted vegetables or fruits.
She suggests that to continue enjoying dietary food, you need to consider variety from the food itself, to its preparation and colours.
Dr. Wheeler acknowledges that "no particular way is going to be the right way for any individual to eat" but believes that the "special ingredient" to success is eating food you enjoy.
For best results, Dr. Wheeler suggests finding nutritious foods you enjoy and not depriving yourself of other desirable foods. (ABC Tropical North: Lillian Watkins)
Some suggestions
Queensland University of Technology colleague Professor Danielle Gallegos agrees with Dr Wheeler that you need to find nutritious foods that "bring you joy".
"One of my biggest New Year's resolutions is 'I'm going to lose weight, I'm going to go on a diet,' and really, diets don't work," Gallegos says.
"It's really about having a good relationship with food…going back to foods that really have a lot of high nutritional value and also give you joy."
Ms. Gallegos offers some tips if you want to eat healthy but always feel hungry.
She suggests drinking more water and potentially eating smaller meals regularly, along with increasing your vegetable and fruit intake.
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Categories Nutrition Tags Daniel Gallegos, Dieting, Diets, Diets don't work, Fiona Wheeler, fitness goals, Food psychology, healthy goals, New year's resolution, Queensland University of Technology, Stomach tightening Post navigation
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Nautical chart of the South Pacific from James Imray & Son, 1875, but stamped 1876. Details include New Zealand, Tonga Isles, Cook Islands, Tuobouai Archipelago, Tuamoti Archipelago, Fiji and more. Unframed and mounted to blue paper. Some light staining to blue paper.


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Participation in the Partner Forum of China National Commission for UNESCO
The 20th & 21st ICOMOS General Assembly
2021 IUCN World Conservation Congress
2020 ACCU International Symposum "Museum and Local Community"
2020 HeritAP Annual Meeting "Impacts of COVID-19 on World Cultural Heritage Sites and Moving Forward"
2020 HeritAP Webinar "Impact of COVID-19 on World Cultural Heritage Sites and Moving Forward"
Workshop on Heritage/Environmental Impact Assessments for the Pacific Island States
Author:Simone RICCA PublishDate:2018-03-14 Hits:1093
The Workshop on Heritage/Environmental Impact Assessments for the Pacific Island States, organised by WHITRAP and UNESCO World Heritage Centre, was held in the Fiji Islands from November 20th to 28th, 2017. This regional capacity-building program was supported by the UNESCO Advisory Bodies, the Ministry of Education of Fiji, and the Pacific Heritage Hub, and was sponsored by the Ministry of Education, Culture and Science of the Netherlands. It targeted professionals involved in cultural and/or natural heritage conservation and management, and was attended by 24 participants from 13 Pacific States (Cook Islands, Federated States of Micronesia, Fiji, Kiribati, Marshall Islands, Nauru, Niue, Palau, Papua New Guinea, Samoa, Solomon Islands, Tonga, and Vanuatu).
The workshop took place at two locations: in the Fiji capital Suva, where the official opening was notably held with the participation of Mr. Iowane TIKO, Permanent Secretary of the Ministryof Education, Heritage and Arts of Fiji, and in the island of Ovalau, where the World Heritage property of Levuka Historical Port Town is located.
The support and commitment of the Department of Heritage and Arts of the Fiji Ministry of Education throughout the planning and implementation phases of the workshop, and the extraordinary hospitality of Fijian colleagues, typical of Pacific culture, made this workshop a unique and very enriching experience for WHITRAP and for all the participants. The technical discussions amongst resource persons, local and national authorities, UNESCO World Heritage Centre representatives, and participants from the Pacific countries, greatly contributed to the success of the program, and gave a comprehensive overview of the unique challenges faced by the Pacific region.
The main aim of this programme was to provide professionals in the Pacific States with knowledge necessary for safeguarding their natural and cultural heritage, in line with the Pacific World Heritage Action Plan 2016–2020 and the results of the recent State of Conservation reports from the region. The course addressed both natural and cultural heritage in order to respond to the specific needs and context of the Pacific States, providing participants with a shared set of concepts bridging the separation between nature and culture in heritage preservation.
The core of the teaching curriculum was developed for WHITRAP by the invaluable expertise and knowledge of Ms. Carolina CASTELLANOS (ICOMOS) and by Ms. Maria MUAVESI (IUCN). Vice-Director of WHITRAP Shanghai, Dr. Simone RICCA, contributed to the theoretical lectures, and to the elaboration and discussion of practical exercises.
The ten-day workshop introduced internationally defined concepts and methodologies, providing background knowledge on heritage conservation, including basic principles and the working mechanisms of the 'World Heritage System' and of the 'World Heritage Convention'. During the days spent in Levuka, the focus was placed on the presentation of the 'Environmental and Heritage Impact Assessments' methodologies. With international examples, practical exercises on site, and a review of the existing set of resources (which were made available to all participants in digital format). The workshop also contributed to developing the exchange of experiences and information amongst participants and institutions from the Pacific active in similar cultural and natural environments, and facing similar challenges for their preservation.
The course combined both theory and practice through lectures, case studies, and practical exercises. The participants had the opportunity to present the sites they are directly involved with (World Heritage properties, properties on Tentative Lists, or national heritage sites) to the resource persons and to their colleagues, and to discuss the management systems currently applied in their home countries.
Introductory lectures are centred on building the participants' theoretical foundations about the background and methodology of HIA, providing base knowledge on concepts such as Outstanding Universal Value and World Heritage monitoring processes. They provide a rapid review of the two principal heritage-safeguarding tools, Management Planning and Impact Assessments (both Environmental and Heritage), pointing out similarities and specificities in their methodologies and processes.
The course then presented the HIA and EIA tools — which are being increasingly demanded in the region by the World Heritage Committee for evaluating and mitigating the potential impacts of development projects on the values of heritage properties — to verify how they can be integrated within national heritage safeguarding strategies to respond to the specific needs and context of Pacific Small Islands Developing States (SIDS).
The workshop specially emphasised the ways in which heritage professionals can accurately identify the values and attributes of heritage sites, and effectively safeguard them in the face of, for instance, uncontrolled development, intensified tourism or climate change. To develop understanding of theoretical concepts, the participants were divided into four groups to carry out two practical exercises.
The group work on the site of Levuka was an essential component of the workshop and was completed by lectures delivered by local experts presenting general information about Levuka Historic Port Town, its significance for the local community, and its existing property conservation and management mechanisms. Fijian experts supported each group during the field visits to improve the understanding of the site's cultural and natural background, and to facilitate data collection and interaction with the residents. The generosity of the Fijian hosts also permitted the organisation of a series of tours through the island of Ovalau, and evening dinners in nearby traditional villages which not only enhanced the participants' experience in Levuka, but also provided important additional information about local culture and heritage.
The first field exercise concerned the identification of the 'attributes' that convey the significance of Levuka Historical Port Town, and of the current challenges faced in terms of conservation and management. Considering the culture to nature linkages typical in the Pacific, participants were asked to focus not only on the inscribed World Heritage property but also to take into account its buffer zone and its wider setting. During the presentations and the following discussions, the proposed lists of attributes, and the matrix of key issues/challenges identified for its conservation and management, were correlated with preliminary recommendations.
The second exercise proposed a series of 'theoretical' development projects which could potentially have an impact on World Heritage property Levuka Historical Port Town and/or on its buffer zone and wider setting. These projects notably concerned tourism development, transportation infrastructure and industrial/urban development. The participants developed a matrix of each proposed project, identifying their potential impact, undertook an impact assessment, and drew preliminary conclusions and recommendations which were discussed during the final workshop session in Suva.
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What does nopal taste like?
After the spines have been removed, they are eaten as a vegetable in Mexico. What does it taste like? Nopales have a crunchy, moist texture with a slightly slimy texture that reminds me of okra.
They have a tart flavor with a citrusy flavor. What are the benefits of a nopal cactus in the same way? Prickly pear cactus, also known as nopal, opuntia, and other names, is used to treat diabetes, high cholesterol, obesity, and hangovers.
It's also praised for its antiviral and anti-inflammatory properties. What happens when you eat too much cactus later? Prickly pear cactus may cause minor side effects in some people, such as diarrhea, nausea, bloating, and a headache. Eating a large amount of prickly pear cactus fruit can cause a blockage in the lower intestines in rare cases.
Is Nopal a good weight-loss program? In a three-month clinical study, cactus (Opuntia ficus-indica) fiber was found to promote weight loss. Cactus fiber binds to dietary fat, as shown in in vitro studies, and its use reduces absorption, which reduces energy absorption and, ultimately, body weight loss.
Is Nopal a good way to lose weight?
In a three-month clinical study, cactus (Opuntia ficus-indica) fiber was found to promote weight loss. Cactus fiber binds to dietary fat, as shown in in vitro studies, and its use reduces absorption, which reduces energy absorption and, ultimately, body weight loss.
• Does Lactaid milk taste like real milk?
• What does physalis taste like?
• Does tilapia taste like cod?
What is the appearance of a nopal cactus?
The nopal cactus, which is native to Mexico, is sometimes referred to as prickly pear cactus, but Opuntia is the plant's Latin name. The fruit has a thick skin with small spines and grows on the rounded edges of cactus paddles. When you cut them open, you'll notice that they have a soft, juicy meat inside and a lot of dark, round seeds.
Is it healthy to eat nopales?
Takeaway Antioxidants, vitamins, and minerals are found in nopales and prickly pear fruits. They're a healthy addition to a balanced diet, and they can help lower blood sugar, reduce inflammation, and cholesterol levels.
Is nopales a Keto diet?
Nopales has a tangy and juicy flavor that is keto-friendly. Sour cream, keto guacamole, chopped avocado, or shredded cheese can be added to this stew.
Is nopales beneficial to high blood pressure?
According to a study, eating cactus can lower body fat, blood pressure, and cholesterol levels.
Is it possible to eat nopales raw?
When raw, nopales are also edible. They resemble a green pepper when diced. People can use them to make juice, jams, or tea.
Prickly pear fruit, which is the small, round, and colorful part of the nopal plant, can also be eaten.
Is nopal a vegetable or a fruit?
The pads of the nopal cactus are known as nopales or nopalitos. They are consumed as a dietary vegetable and are frequently found in restaurants, grocery stores, and farmers' markets throughout the American Southwest and Mexico.
Is nopales a source of carbs or a source of protein?
Protein content of 1.14 grams (g). 0.08 grams of fat
Carbohydrate content of 2.86 grams.
In English, what do nopales mean?
Nopal (from the Nahuatl word nohpalli [nopali] for the plant's pads) is a common Spanish name for Opuntia cacti, as well as its pads.
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This will be the thread that will be in use for a extended period of time unless some one else wishes to post one.Now that Ned is well again I will be away for some time doing bits and pieces, going back and forth ,flying,boating but no driving or as little as possible.
Things are still relatively quiet even with Barnyards rorting so the blog will just continue along with all your wonderful comments . I'm sure things will heat up as the year rolls along and we can expect the later half of the year to get busy as we get closer till the next federal Election .
The people here are what makes this place special so keep commenting,chatting and sharing your thoughts. I will still checking in and keeping a eye on things .
As always enjoy The Pub and yourselves.


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TI Official Try-out Italy
Official Try-out: ISM – International Scouting Center is well aware of the fact that there are many talented players hidden somewhere in the world who are not given the opportunity to be seen.
Due to this reason we invite players aged 14 to 21 to take part to our professional Try-out where all players can be evaluated during trainings and friendly matches by a professional staff and directly by A.C. Perugia and other professional clubs.
This is a big chance for players wishing to get scouted!
TECHNICAL OBJECTIVE
The goal is to scout quality and promising players to take part of the youth teams of Professional and Semi-Professional Clubs. During a period of training and matches all players are trained and evaluated by a very professional staff of the Academy and coaches and scouts.
In the morning there will be technical-tactical training while in the afternoon matches will be organized to allow the boys to show their qualities in front of the observers.
Players coming from all over the world between 14 and 21 years old.
Locality Date Price Age
Perugia 20th-25th March 2023 850 € 14 – 21 Years old
Perugia 19th – 24th June 2023 850 € 14 – 21 Years old
Perugia 25th-30th September 2023 850 € 14 – 21 Years old
Perugia 11th-16th Dicember 2023 850 € 14 – 21 Years old
Day 1 Arrival
Day 2 Training Session Match
Day 5 Spare Time Match
Day 6 Departure
9:00 a.m. Breakfast
10:00-12:00 a.m. Training Session
1:00 p.m. Lunch
4:00 – 6:00 p.m. Showcase match
8:00 p.m. Dinner
Tuition Includes:
Intensive soccer training program
Video of the football matches played
All players attending the trial receive 2 training kits and 1 soccer bag
Certificate of attendance
Technical evaluation report
Daily transportation with private bus for the duration of the Trial
Guided full-day excursions to places of historical & cultural interest (Assisi, Perugia, Siena)
We will keep you informed about our news and initiatives. Visit the privacy policy page, through the menu below, to find out the type of data processing.


33 PCS 5C COLLETS CONSISTS OF: 1/16 to 1-1/16 by 1/32nds. With a 5C collet tray to hold 72 collets. The item "33pcs/set 5C Collet Set 1/16 to 1-1/16 by 1/32nd, with 72 hole 5C collet tray" is in sale since Wednesday, October 30, 2013. This item is in the category "Business & Industrial\Manufacturing & Metalworking\Metalworking Tooling\Toolholding\CAT Holders". The seller is "niuniucme" and is located in Madison Heights, Michigan. This item can be shipped worldwide.


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Gross: TN Democrat Nashville Mayor Stole Taxpayer Dollars to Finance Sexual Escapades, Nude Photos Surface [videos]
February 28th, 2018 Bethany Blankley
The Tennessee Bureau of Investigation (TBI) is investigating Nashville Mayor Megan Barry after it received nude photos taken on a mobile device that was used by her former bodyguard and lover, Sgt. Rob Forrest.
Part of the investigation has revealed that Barry used $33,000 to finance her sexual escapades with her body guard on trips to Paris, Athens, Washington, D.C., New York City, Denver, Oakland, Salt Lake City, and Kansas City. Forrest earned $50,000 in overtime pay for accompanying her.
Barry issued a public statement apologizing for the affair but has no intention of resigning. She's even asking taxpayers for more money to finance a $5.4 billion transit infrastructure plan.
Nashville Judge Steve Dozier signed a search warrant for TBI to obtain Barry's cell phone. The affidavit states, "A search of Megan Barry's phone could reveal information that is crucial evidence for this case. In particular, data and information that has been deleted from Sgt. Forrest's phone may still exist on Megan Barry's phone."
The Tennessean reported that the Chair of the Metro Budget and Finance Committee, Tanaka Vercher, is looking into how to Barry could be criminally charged for the misuse and theft of taxpayer money.
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January 19th, 2020 Jeff LeJeune 0 60.0


Once again it's time to Bleed for Brandon's (Gromada) Cause! Hoxworth Blood Center's Bleed for a Cause takes place between July 18 to August 13 at any Hoxworth Blood Center neighborhood donor centers or any blood drive, such as onsite work, or organizational drives or mobile blood drives.
Last year Brandon's Foundation won the second place $5000 award. Please help win the $10,000 top award to fund the research that will put an end to head and neck cancer!
The Board of Directors of Brandon's Foundation announced the 2016 research grant awardees on June 2, the four-year date of Brandon's death. Recipients of a $20,000 renewal grant are Scott Langevin, PhD and Trisha Wise-Draper, MD, PhD of the University of Cincinnati (UC) College of Medicine for a renewal of Efficacy of an LSD1 Inhibitor (GSK2879552) for Treating Sinonasal Squamous Cancer. Neil Bhola, PhD and Jennifer Grandis, MD of the University of California, San Francisco (UCSD) are awarded a $10,000 grant to study Investigating the Therapeutic Role of BRD4 on Cetuximab Resistance in HNSCC, and Laura Conforti, PhD of the University of Cincinnati receives $6,000 to study Tumor Microenvironment and Immune Therapies.
Congratulations to the recipients! Thank you to all of our Foundation donors and project committee members, and the research proposal reviewers who make these research grants possible! It would not happen without you!
Also, Brandon's Foundation was acknowledged for its help in funding the research of Weg Ongkeko, MD, PhD (UCSD) leading to the report The Non-coding Landscape of Head & Neck Squamous Cell Carcinoma in Oncotarget.
PLEASE Bleed for Brandon's Cause!
Donate at at any time during July 2014 at any Hoxworth Neighborhood Donor Center or Mobile Community Blood Drive in the greater Cincinnati area. Eligible donors must be 16 years or older. (Sixteen year olds may donate with parental consent.) If you do not meet Hoxworth's eligibility criteria, you can still help Brandon's Foundation be awarded funding. Simply recruit others to Bleed for Brandon's Cause!
No say - no pay! To gain points, you MUST say you are donating for Brandon's Foundation when you arrive at a Center or community drive for your appointment to donate!
What's in it for donors? 1.) Satisfaction of supporting a cause that may one day save a family member's or friend's life 2.) The chance to help the Brandon C. Gromada Head & Neck Cancer Foundation compete for funds that will support research to find cures for the cancers that took Brandon's life and those of too many others 3.) The chance to win one of several gift certificate prizes. To be eligible: after donating, email BCG.HeadNeckCaFdn@gmail with your name, plus the date and location of your blood donation. Your name will then be entered in a raffle. Winners will be notified and listed on the Foundation's Facebook page in early August, 2014.


I like to make things A LOT, in fact I like the making part SO much that I hate finishing things and slow down to a tortoise pace when the end of the project is nigh. This is why I don't always zoom through projects, rather I like to get to know the thing I'm making, get attached and take my time. The idea of parting with it because it's done can sometimes be a little off-putting, not because I will miss the thing, but because I will miss making it. I won't make that thing ever again. That thing is done. Sob.
It's okay though. I will rebound into another project before you know it. I'll toughen up and face the next crafty challenge the best I can. Gulp.
This is the granny square blanket – I zoomed through this and then put it away because I am not QUITE ready to hand it over. HOW SELFISH. LOL. I am going to finish it this week. I swear. It's so close to being done it's not funny.
I am working through this each day and loving all the colours popping out at me. This is sort of half done, but I only started it on Mother's Day so expect some serious slowing down coming up as I near its end.
Okay. I admit that I'm going really slowly with this. Mostly it's because I am wanting it to be a Winter-long project and we aren't even at Winter yet. On one side the squares sit with they ridged edges up against each other, poking out. On the other side, the squares pop up like little puffs. It's pretty satisfying to watch it all coming together.
Stay warm, peaches! Chat soon!
You know when things are so beautiful that it just makes you that little bit mad? Like, I just want to be surrounded by it ALL THE TIME! That's a bit how I feel about all the things on your blog-and I'm loving the current colour scheme of brights and fluroes and such. I have one question-what method are you using to join your Tiny Square blanket? It's just lovely!
That tiny square blanket is amazing! Well, they all are really! I love your use of colour. I think this is the winter I am finally going to learn to crochet! Thanks for the inspiration!
It just occurred to me whilst reading this that I dread the end of projects too, but it's because I dislike STARTING a new project. Not the beginning itself but the pre-bit with all the agonising decision making! So I have lots of different big projects on the go, including a hexa-puffs knitted blanket that looks not too dissimilar to your small puff squares (140 puffs down, aiming for 400).
Ooh Pip, love these UFOs…especially the tiny squares pop-up blanket. Do you have a pattern or link for it please? I also have lots of things on the go at once. I like to do certain things at certain times so handy to pick and choose – like straightforward non-complicated automatic things when I'm tired in the evenings, then more get-your-teeth-into-things for a challenge. Know exactly what you mean about finishing things – often hard unless I have something lined up to get cracking on straight away.
I've told you this before, but I love seeing your blankets grow on fb and Instagram! It's seriously so NICE.
I wish I could get through things like you do. I used to crochet and craft a lot, but a full time job took over. That's why I cook so much, instant gratification!
Defah's blanket is GLORIOUS. I love it so much. I followed along as you made the squares on Instagram and now seeing it all put together, it just looks fab! Have you ever done a tutorial on putting the squarest together? I'm up to that bit and it's a bit daunting.
Yep! I hear you! I have LOTS of unfinished projects and a list longer than a piece of yarn of yet-to-be-started projects!
I must admit though – I do love that feeling of satisfaction of completing a project.
I also have loads of projects on the go. The trouble is I want to make so many things. I've got a giant cross stitch which will take me years to finish,I'm half way through a crochet shrug and I have various upcycling furniture projects on the go. Plus the hundreds of projects in my head. It is very satisfying though when you do complete a project.


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Six Ways to See Ocean Ocean Bioluminescence
COSEE Florida and the Ocean Research & Conservation Association (ORCA)
Whether it's the winter dance of the Northern Lights or the summertime glow of fireflies, displays of natural light fascinate us humans. Bioluminescence is the source of many such light shows in the wild—especially in the ocean.
Similar to when you crack a glow stick and shake it up, numerous marine animals, plants, and microbes emit bioluminescent light through a chemical reaction. While the light is beautiful, the goal isn't aesthetic; rather, bioluminescence helps the organism that produces it evade predators, feed or reproduce.
Seen in person, bioluminescence is breathtaking. Here are some ways you can catch sight of life lighting up the ocean:
Glittering Waves
Lingulodinium polyedrum—known for causing red tides and lighting up the Southern California coast—has its own circadian rhythm, producing more reactions at night than during the day. The chemicals and proteins within L. polyedrum are destroyed on a daily basis and regenerated for their nighttime light show—like the one seen here in a long-exposure photograph. (Flickr user Charles)
Bioluminescence is readily visible in scores of microscopic marine organisms, including many of the thousands of dinoflagellate species found throughout the world's oceans. A slight movement can trigger the bioluminescence in these tiny one-celled plankton, making for spectacular shows as they light up a wave crashing onto the shore or the wake of a boat speeding through the dark.
Why the small creatures light up is still not entirely clear. Bioluminescence can serve a variety of purposes, such as signaling predators to stay away or beckoning mates to come closer. The light can also serve as a tool for those too tiny to defend themselves: When they light up, the microorganisms attract attention in what marine biologist Edith Widder calls a "bioluminescent burglar alarm". Scientists believe that dinoflagellates may be hoping the fierce glow will scare off predators or attract bigger predators that will eat their pursuers.
The bioluminescence of one species in particular, Lingulodinium polyedrum—known for causing red tides and lighting up the Southern California coast—has its own circadian rhythm, producing more reactions at night than during the day. The chemicals and proteins within L. polyedrum are destroyed on a daily basis and regenerated for their nighttime light show—like the one seen here in a long-exposure photograph. Red tides are unpredictable, though, so if you're hoping to catch a glimpse of the sparkling scene in the wild, you might want to book a trip to Mosquito Bay, off the island of Vieques in Puerto Rico. The glowing waters can be traversed by kayak in the dark, and although in recent years the bioluminescence there has dimmed, it is still a sight worth seeing.
Seductive Beacon
Travel to Bermuda's waters and you'll see the ocean's version of online dating, starring the bioluminescent Bermuda fireworm. Several nights after the full moon, female fireworms swim up from the soft bottom of the seafloor to the ocean's surface. There they swim in circles while alight in a bioluminescent call to male fireworms—like posting your best selfie and waiting for the date requests to roll in.
The males that heed that call swim up toward the circling females and flash in response, creating a scene like a wild nighttime dance party. Lit by the waning moon and each other, males and females simultaneously release their eggs and sperm into the water.
Within hours of birth, the Hawaiian bobtail squid attracts bioluminescent bacteria, which colonize a special light organ above its eyes. The bacteria and squid are able to live independently, but they both benefit from this relationship: The bacterial light helps the squid avoid predation, and the bacteria gain a safe home and consistent nutrients. (Chris Frazee and Margaret McFall-Ngai via Wikimedia)
Some animals could benefit from a little light beneath the waves but don't have the necessary proteins to produce a bioluminescent reaction themselves. In these cases, bacteria may come to the rescue. Within hours of birth, the Hawaiian bobtail squid attracts bioluminescent bacteria, which colonize a special light organ above its eyes. The bacteria and squid are able to live independently, but they both benefit from this relationship: The bacterial light helps the squid avoid predation, and the bacteria gain a safe home and consistent nutrients. These tiny squid, like the one seen above, can be found in very shallow water around the Hawaiian and Midway Islands, so all you need is a mask and snorkel to find them.
Similar symbiotic relationships exist between bioluminescent bacteria and a variety of other animals. The flashlight fish harbors glowing bacteria directly beneath its eyes and can turn its "flashlights" off and on at will with specialized lids. In some places these fish are in shallow enough waters to be found without using SCUBA. The brightly lit lures of large female anglerfish also harbor bioluminescent bacteria to attract hard-to-find food in the deep sea. And pinecone fish (sometimes called pineapple fish) attract food with a microbe-infused glowing bottom lip, which they can tuck into their mouth to turn off the light.
In another form of partnership, glowing bacteria may help deep-sea animals find their next meal. The microbes often colonize dead animals after they fall to the seafloor, possibly helping scavengers see in the dark. In some places you can even see bioluminescent bacteria glowing on their own. The milky seas they cause can be seen from a boat if your timing is right—and is sometimes visible from space!
Fireflies of the Sea
Glowing photophores are visible on a squid (Abralia veranyi) viewed from below at low light levels. (E. Widder, ORCA, www.teamorca.org)
Not to be outdone by their insect counterparts on land, firefly squid are known for their bright blue light shows off the coast of Japan. The small squid fill up Toyama Bay during their spawning season from March to May. Waves push the squid closer to the surface in the enclosed waters of Toyama Bay, making it an ideal time for marine mammals, larger fish and humans—both observers and fishers—to take advantage of the spectacle.
Lined with light-producing organs called photophores, the squid are thought to use their light for many forms of communication—from attracting mates to deterring predators. The photophores can light up in unison and also in an alternating pattern. Tour boats embark in the middle of the night and allow visitors to watch the light show as nets from fishing boats prod the squid to light up. There is even a Firefly Squid Museum if you happen to visit during the off-season.
In the Caribbean, tiny crustaceans called ostracods also play firefly when they are looking for mates, according to science writer Jennifer Frazer, who saw them in the waters of Bonaire. Ostracods not only light themselves up, they also release glowing mucus into the water. The specific spacing of the mucus blobs tells female ostracods that a male of their species is close by and ready to mate.
A Coastal Light Show
These clams (Pholas dactylus) are dazzling to see. From their encased homes, they emit bioluminescent light through their mucus and along their bodies, lighting up parts of the coast for those who take an evening stroll. Pliny the Elder wrote about how they light up the mouths of those eating them. More importantly, they were central to the discovery of the proteins luciferase and luciferin. French pharmacologist Raphael Dubois extracted these proteins, essential to the internal production of luminescence, from Pholas dactylus in the 1880s. (Biodiversity Heritage Library)
If you'd like to stick to land to see ocean creatures light up, the rocky shores of England and France are home to the bioluminescent clam Pholas dactylus, seen above next to a bore hole. These small clams bore into rocks on the shores of the Atlantic and Mediterranean. From their encased homes, they emit bioluminescent light through their mucus and along their bodies, lighting up parts of the coast for those who take an evening stroll.
These clams have been noticed throughout history. Pliny the Elder wrote about how they light up the mouths of those eating them. More importantly, they were central to the discovery of the proteins luciferase and luciferin. French pharmacologist Raphael Dubois extracted these proteins, essential to the internal production of luminescence, from Pholas dactylus in the 1880s. Today the proteins are valuable biological research tools used, for instance, in genetic studies and live-animal imaging.
A Glimpse of the Deep
Blackdevil fish are quintessential monsters from the deep. The female lurks in the dark, drawing in prey with her glowing lure, while the male attaches to her like a blood-sucking parasite. (E. Widder, ORCA, www.teamorca.org)
Most bioluminescent organisms are found in the deep sea, where researchers estimate that more than 50 percent of organisms glow from the special chemical reaction. As terrestrial travelers are unable to withstand the pressure at depth, we miss out on most of the ocean's light show. But we know from remote exploration that light-producing photophores are found along the belly and tail of the lantern fish, on the belly of hatchetfish (seen above) and behind and under the eyes of dragonfish, among many other deep-sea fish known to science.
On the island of Sicily, you can see some of these deep-sea wonders at the local fish markets. The narrow Strait of Messina separates Sicily from mainland Italy, and just 30 miles from its shallow waters are trenches reaching depths of 6,000 feet. In this unique spot, currents and waves carry creatures from the deep sea to the surface, where they are caught and sold. Mid-level fish, such as the hatchetfish and lantern fish, move up to the surface at night where their photophores can be observed and fishers can make their catch.
If you get the rare opportunity to see deep-sea lights in a submersible, jump on it. Those who have had the chance through scientific endeavors or thanks to saved pennies say it is most certainly worth it. In this short video, scientists describe the experience: "You're looking out the window and all you see are these stars that go by, which are the bioluminescent organisms," says one. "You're starting to see sparks; it's like the sparks that come off a campfire," says another.
Editor's note: this article was originally published on June 9, 2015, at SmithsonianMag.com.
Tags: Bioluminescence


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Bilsdorf () ist eine Ortschaft in der Gemeinde Rambruch im Kanton Redingen im Großherzogtum Luxemburg.

Lage
Bilsdorf liegt an der Nationalstraße 27, die südöstlich am Ort vorbeiführt. Nördlich des Ortes fließt die Sauer. Nachbarorte sind Arsdorf im Osten und Bondorf im Westen.

Allgemeines und Geschichte
Bilsdorf gehörte bis 1978 zur Gemeinde Arsdorf und ist seit der Auflösung dieser Gemeinde Ortsteil von Rambruch. Zwischen 1995 und 1996 entstand in Bilsdorf der Skulpturenweg, welcher Teil der europäischen Straße des Friedens ist.

Sehenswertes
 Kath. Kapelle St. Haupert, erbaut 1701
 Skulpturenweg

Weblinks

Einzelnachweise

Ort in Luxemburg
Geographie (Rambruch)

redpajama_set_name: RedPajamaWikipedia