text:
Trying Again Sat Apr 02, 2016 @ 19:52
I always feel like any title besides "artist" is a little ill-fitting, if only because I have so much more experience and practice with drawing and painting and the like. Visual media is where it's at, that's where I can say without a doubt that I know what I'm doing. I can channel all my intentions into my drawn work and figure out for myself if I achieved what I wanted or not. It feels rather like I've already unlocked most of the "tools" to drawing, and now it's just about making new works and combining things in unusual ways to keep my mind expanding.
So it's difficult to accept that, yes, I can write, and yes, I can make music, too. Being able to see just how much I don't understand yet makes me feel like I don't deserve to be able to use those titles yet, even though that's absurd. Anyone who draws is an artist. Anyone who writes is a writer, and anyone who makes music is a musician. This says nothing of skill or experience, but it's important to embrace that you can always learn how to be creative, that you can always improve at something you're working towards.
But of course, it feels really uncomfortable when you know you're nowhere near where you want to be. This even goes for people with a lot of experience in a field; I have several friends who experience impostor syndrome, even though they're successful and talented people. No one would even be able to guess, because they're doing work in their field and they're active and know what they're doing. But… that's not how they feel.
Mindset can make such a huge difference. Part of what I've been trying to move past is feeling like I'm not allowed to call myself "writer" or "musician" until I've "caught up" to my art experience - mostly because if that were the case, I'd never be able to. I spend far more time drawing than I ever will writing or making music. And besides, I've been practicing story / comic writing for 5 years now… which is something I didn't realize until I sat here and did the mental math really quick. That's a pretty decent amount of time dedicated to trying to get better at stories! And I've been messing around with music on and off for over two years now. That's pretty good!
I think it can maybe get a little easier to accelerate your learning with a creative medium after you've already learned how to be freely creative in another. The biggest hurdle is understanding that there are no rules, that there is only figuring out how to invoke different feelings and emotions in others. Setting some goals and trying to figure out how to achieve those goals is really important for my personal process. Also, it's gotta be enjoyable. If I'm not enjoying it, I can still learn from it quite a bit, but it also means I'm doing it wrong. Still useful to know, but not what I want. Nothing says I need to do anything that isn't fun for me, so I won't. (More on that later.)
It's hard when you reach that middle point, where you're pretty decent, but you really want to elevate your pieces. That requires a lot of hours, and a lot of thinking. It requires understanding exactly what kinds of things to throw away, and what to keep, and that's sometimes a little overwhelming. This is where an outside eye can help, if you have experienced friends. It's also where the most room for unique growth is possible, if you figure out a creative solution on your own. The balance is tricky, and depends wholly on what you want to achieve. I like to do things that are very "me", which means I'm very choosy about the kinds of input I want so other people's suggestions won't override my own thoughts. I already have feelings and emotions in mind, and I just want to figure out how to reach them in my own way.
Relatedly, getting better at writing has been a huge challenge. Like drawing or painting, it's extremely subjective. There's no "wrong" way to do it, but you might not evoke the right feelings in the reader if you're not being critical of your work. And then for me, there's a certain finesse required in relying on intuition vs thinking very hard about whatever I'm writing. It makes me feel really uncomfortable to show off a draft that I know isn't very good, but sometimes I need to do it so I can figure out what I can learn from it. Luckily, my husband understands this!
But, he also has a completely different writing process than I do, and it's been a challenge to come together on this and to learn from each other. He's read so much more than I have, and he's naturally pretty clever and funny; these things are reflected in his work. Even though he didn't really start writing until about when I did (when we worked together on our first project), he impressed me right away. I'm sure if I were looking back on his old writing now, I'd still remember the things I loved, even if he'd cringe. I'm guessing that's the inverse of how we'd feel if we were looking over my old art. Haha.
Speaking of old writing… I wanted to pull my hair out near the start of even trying to write comics or stories or… really, anything. It was so hard! What kind of idea did I want to capture? Why? What was the point? Was it leading to anything bigger? What kinds of ideas were even worthwhile? I had no idea. It was almost too much! So I just started somewhere, and made a bunch of comics that weren't very good, but they really helped me get a handle on what it felt like to explore my mind and my words. I got to find out how much I liked executing visual humor, and I got to find out I didn't care a lot about stories that weren't working towards a point. I mean, I got to learn a bunch of other stuff too, but it all came from just going "I need to make something or I'll never even start." And that's really how it is, how it'll always be: you're going to flail for a while before getting more comfortable with whatever you're trying.
My mind's been all over the place with this post, because I have so many thoughts about how I even got to where I am now. I keep coming back to the thought that's been with me for days, about how many people:
1) really enjoyed Try, Try Again's ending, but
2) didn't understand it all the way, and yet they still
3) cried really hard.
And also, that's roughly what I wanted to achieve. Uh, minus the crying bit. I actually didn't anticipate that, because I didn't cry while writing it. So many people told me they cried, a lot, but that feels so weird because I'd just spent hours carefully and meticulously editing the ending, scribbling new ideas and crossing them out over and over, erasing and inserting a couple of scenes very close to the deadline. The feeling and flow had to be just so. I knew what I wanted to imply, so I wrote around that premise. And I guess I did achieve it, because the emotional impact of the scenario (that hasn't been fully revealed yet) still hit them hard anyway. How interesting and exciting is that? I'm sure there are a good handful of people who were just plain confused, but that's all right, too. Enough people "understood" the emotions that I felt it a success.
I want to say more about writing that whole part, but it does get difficult to talk about. So much of what we do is intuitive! I'll get urges about the way I need to think about a scene, about the first approach I need to take to a draft or an idea, and I'll just sit down and start writing stuff and drawing related imagery. I need to have an idea I want to convey, and then I need to figure out the best way to imply story. It has to feel right, and it has to feel exciting to draw. If I can't come up with the visuals, it's not good to me.
...but that's not going to work as a cue for everyone, because I'd say that most people don't feel like their paintbrush is an extension of their arm. I'd say I have an advantage in that way, with the medium of comics. An awful lot of the editing happens by itself if you just pay attention to where the art and the words are redundant. Or if I'm just like, "I don't want to write these words on this page, they feel boring." That's what happens when I approach Marl's script: with a clear head, I can sit down and start thumbnailing some ideas, and I'll get a feeling for where it's falling short or where it shines. I mean, it's absolutely up to me to enhance even the best parts of the script, too. If my art isn't exemplary, then I'm risking ruining the impact of whatever he's written. (Or whatever I've written.)
I don't think it'll ever get easier to do a bunch of concept work and then go "this is all now scrapped." It's always frustrating for me, even just for a moment. I absolutely know that better work is around the corner, and it's just my impatience and lack of understanding that are both getting in the way, but… it really does suck to still not have the right idea yet.
So what's the balance between "putting out work consistently" and "finding the right idea"? I guess this varies per person. For me, I can't really afford to not work, so I'm constantly scrambling to keep coming up with the right idea so I can keep putting out work. My paycheck depends on it, as does my mental health. Not putting out work gets me into a depressed rut. If I'm not at the right idea yet, then I have to start scribbling scene ideas in my sketchbook, or I have to start talking with Marl to figure out what's wrong and why we don't like it. Marl hates doing much (well, any) planning in advance, but I require at least some ideas to work towards. A goal. He also needs a goal, but we both like having different amounts of detail in our heads before we start writing a scene or a part. This can make it super hard when I need to start sketching ideas for a scene we're both working on, and he's still working on half a dozen scripts he'll never show me because they're not the right idea yet.
But what does it even mean to be the "right idea"? How do you know what to throw away?
For us, that means a certain feeling. It means not feeling constrained by the idea, not feeling like our creativity is going to be chained down. To not feel like there is only one path towards the end, if approached a certain way. It means excitement that fuels the drive to work on it. In a single phrase, it always comes down to:
Is it fun?
If it's not fun, it's not worth it. If it's not fun for me to write, for me to listen to, for me to draw, then it's not worth someone else's time to experience, and I'll throw it away without any regret. I think this is the only "rule" I'd say I wish I could get other people to follow. Your best work comes through when you're being playful, when you're learning how to do something in a way that is "you". When you think, "it'd be really fun if I could do X", then… maybe give it some thought. That urge is what creates something personal. To channel your interests and what you enjoy into a work, that's what makes it stand out! To experience a certain perspective -- something unfiltered, something not curated to be like everything else…
That's the kind of work that I enjoy best, anyway. I like seeing the visions of a small group of people, or of one person, manifest into a very personal story. I feel like that kind of stuff always resonates really hard with enough people that it's worth trying to pursue. To create art and experiences is necessary for me to express myself, but the flipside is other people experiencing those expressions and interpreting it in their own way. What a strange power! To be able to cause feelings in other people you'll never meet, people you'll never know! Dozens, hundreds, thousands, tens of thousands… and then the effect continues, as those people are changed in some way by the experience, and as they're driven to create and influence others. How strange and wonderful.
I think writing becomes a lot more enjoyable when you realize that you can do whatever you want with it. Once I started realizing that I should have goals in mind for a feeling or idea I wanted to convey, it got a lot easier. I could scribble out anything that didn't fit the feeling of the scene. Realizing that everything needed a point… well, it was the same idea behind all of the surreal imagery I've been doing for the past year in the stories. Sometimes the point is something very abstract that very few people will ever truly get, but it still has to be present in your head as you work. There has to be something that makes the piece cohesive as a whole. Taking an idea and going all out, that's important!
On that note, Marl likes to say "if you ain't outta control, you ain't in control" which was kind of a "not really" joke to start. Mostly because it sounds silly, but it's also how we approach the stories. When we have the thread of a good idea, we have to keep tugging on it. How extreme can we get? How much bigger, grander can the idea be? What would elevate the idea from "cool" to "really fucking fantastic"? How can we find the push that tumbles us over the edge into an idea so exciting I can't even contain myself?
It takes a lot of "what if"s, and a lot of not settling for the first ideas. So many people are scared they'll never be able to come up with something better if they throw away whatever they've been working on. I understand the fear. Like I said, it sucks. But, those ideas are a good place to piggyback from. But I mean… I look back on what i've done thinking "what if we'd settled for the first ideas?" In terms of the past 3 arcs (Itchy Itchy, Broken Toy, and Try, Try Again) and I feel horrified.
So much of those stories wouldn't even exist. I mean, aside from the obvious that Try, Try Again wouldn't exist in any form... But also, did you know that Broken Toy part 3 originally just had a kinda generic scary comic that Beleth was reading? No story from Price. No cool dream sequence. But I read the first drafts and I couldn't muster excitement. "What's the point? I don't want to draw these scenes from this random comic." So he tried again after getting inspiration for how to approach that part, and I was enthralled. Suddenly it was super exciting for both of us! What was this new, bizarre story? I had no idea, but it meant I got to make some amazing visuals for it, and that I got to start flexing my surreal mind muscle again. I was so, so into it. All of it.
And that's just a couple examples! We threw out literally hundreds of pages over the course of working on Try, Try Again.
But it was worth it. How are you going to find your best ideas if you keep sticking with the first and easiest ones? And it's not like you'll never have more. Anyone can have more ideas. Anyone can keep thinking of new things. It just gets more difficult to ask the right questions to transform the ideas into something truly spectacular, but even something like that just requires practice at the mindset.
Always keep questioning and learning! And never stop having fun. That's important, too.


Last night moxnix posted this ad to sell his 1994 Miata. Against my better judgment I actually browsed the classifieds this morning. For a weird variety of reasons that I'll get into later this all seemed like a great idea at 7:50 am while drinking my first cup of coffee. In the last 11 hours I've agreed to purchase the car, moxnix and Patrick have figured out how to get it to Patrick so he can play with it and throw some new rubber on it, Pete Gossett has generously offered to sell me a very reasonably priced rust free flood car shell, and Spacecadet decided to be my partner in crime in these shenanigans.
Some of you might remember that I don't like Miatas. I spent time with a very nice Mazdaspeed car that a friend left with me for a while while he was moving. I fixed the crank nose and resealed Spacecadets car last spring and drove it around for a bit to test it. I love to autocross and rallycross them, but for the most part I like them best when someone else owns them. Every time I talk about how I don't like them Keith Tanner shows up and tells me that they're completely different cars with a hard top, and this car has a hard top. I'm going to give Miata love one more chance.
This is going to be so much fun, I need to fix one little nagging issue on my 99 Miata and i'm going to put it up for sale.
I'm going to throw plates on it and hoon the berkeley out of it. You know, just to make sure it'll make the trip to Texas.
Of course. Italian tune up, that sort of thing. Completely necessary.
Talked to spacecadet this morning and I think we have a basic plan. It's gong to be a no rulebook do it all car. AC and enough sound deadening to make it fairly pleasant to drive. Roll bar, six point belts and decent seats for HANS use. Rallycros? Sure! Autocross? Any and all. Fresh brake fluid and head off to a track weekend. Get a crazy idea and go to Miatas at Laguna Seca. Hit a Grid Life or two. Everything. Low power, narrow tires, reliable and be able to do it all with some level of competence and all the safety. We're both excited.
If it's the hardtop aspect you're really looking for, you can pull the soft top non-destructively in about a half hour. Gives you a bunch of room on the back deck and makes it a lot easier to install a roll bar. The Mazda M Coupe showcar has a little bar that runs from side to side to restrain stuff back there. This 94 has a less fancy thing that will do it as well.
Also, make sure it's properly adjusted so it doesn't creak or rattle.
Not my first choice of suspension. Unless they've changed their spring rates, you'll want to put on a big fat front sway bar and loads of front camber to keep the back end behind the front.
It already has a racing beat solid front bar and koni shocks with coilover sleeves.
I'd probably stick with that over the Spax.
you don't want 17's for this car, do you?
100% on you. I even used you when I told my wife that I bought the car. "Keith told me I would like a hard top car". You can ask her.
The plan for now is to see how it sits, how it drives, and go from there. Probably a rear bar for balance on the grippy stuff, but we're not planning to make a high grip car which should keep the suspension fairly sane.
Keith is going to teach me how to make it quiet and comfortable, just you watch.
Probably not? 17 inch tires are expensive and expensive is bad. We're going old school with this. That's the plan anyway.
More helps on making it quiet and comfortable, now that I appear to be committed - once you've pulled that top out, lift the carpet up and put some sound insulation under the carpet and the rear deck. Not Dynamat style, but something that's specifically to limit sound transmission. The stuff I've had good luck with is almost a felt made of chopped up denim.
I really need to sell something just so Seth can buy it from me.
Me thinks Seth has sold something lately to make these shenanigans R(63)EAL......either that or Mrs.Seth is truly one in a million.
I'll be asking a lot about making a hardtop car a good place to be when this car gets home and I can drink coffee and poke around. I do love driving Miatas in anger but when I've had them before I have to make myself drive them at regular car times. The easy button is to make sure the car is in spacecadets driveway and let that be his problem, but he's sitting on a pretty darn nice NB that he's not driving for similar reasons. Considering we've both owned the same STS Civic and both sold it because it sucked at car stuff, we're pretty close on what we feel a car needs to do to be part of the fleet. This would be second, or ninth car for either of us so it will have a bit of leeway, but I don't want to own any car that sits because I don't want to drive it. That's really the great crux of this experiment.
Building a car that can perform without beating up the driver is my favorite. Definitely talk to me.
This all the way, the 99 is a great car, but has not fit my life the way it used to with the Focus now in my life. The Focus works for me at autocross in a way the NB does not. My NB is too nice to destroy at RallyX, because Seth and I discussed that last week while I was at Solo nationals. It needs some love and I'm going to put up at a price for sale that should be more than aggressive enough to move it very quickly. not a bad car, just not what I need anymore. It's a well built E street autocross car and I don't need 2 Autocross street class rulebook cars.
Seth, this is what I have under my Miata.
If I had to do it again, I wouldn't change a thing. It's just a fantastic car to live with and drive. It's easily daily driver quality. Those old fogeys on the Miata forum boards are right, the lighweight wheels make a huge difference on these cars.
As Jeremy Clarkson would say. "The car is just brilliant".
I was about ready to sell my Miata until I got the hardtop. I'm looking forward to this also as I daily mine.


10:12 > hey, can I ask you a question?
It can be quite frustrating to have someone ask you for help, and have it turn into an exercise of interrogating them to get all of the contextual information that they didn't provide.
When you ask someone for help, even if it's part of their job, you are asking them not only for their time and attention, but you're asking them to take that time and attention away from what they were doing before.
Thankfully, this experience can be designed to be as friction-less as possible for all involved.
If something has gone catastrophically wrong, there will likely be an error message, either in the console of your web browser, the debug log of your sever, or in… wherever it is that desktop applications log their errors to these days (sorry, I just make websites). These messages tend to be pretty daunting. Stack traces dozens of lines long, file names you've never even heard of, but there's a positive twist: you can almost always ignore everything except the first couple of lines.
Read the error message, understand the error message. Become the error message. Only then should you proceed.
This applies mainly to asynchronous communication, where an immediate reply isn't necessarily expected or guaranteed, and there is already the expectation that whoever you are contacting will respond to you when they have time.
Realistically, the answer to these questions is almost never going to be "no." Especially if we're co-workers. Am I really going to say "no, you may not ask me a question!"? I get that you're trying to be polite and unimposing, and I do appreciate that, but the real end result is that now I either have to a) spend more of my attention waiting for the other shoe to drop or b) go through the extra work of interrogating you to find out what it is that you need.
Unless it's obviously a bad time, or you expect it may take some time to answer, please just ask the question.
If you're asking for help with something, and you think it might take a while, you can work that into the question.
What, specifically, have you tried so far?
If you give them as much context as you can think of packed into the question, it brings them up to speed immediately, and they can look at the problem from where you are now, not where you started.
I'm trying to <do thing> but I get the error <flargon uninitialised in flange>. I tried <rebuilding the doodads> but that didn't make any difference. Do you have <ten minutes> to show me what I'm doing wrong?
I hope these short tips help you to supercharge your questions to get better answers, faster, with less friction for everybody.


text:
Q: TCP/IP MTU confused My friend's network quality is very good. It is normal to request most websites, but for individual websites.
I guess it is slow (even unable to open the page) mainly because of TCP retransmission.
I guess TCP retransmission is due to too large MTU.
Am i right? but why PC set so large MTU?
Here are the pictures, sorry in Chinese.
wireshark tcp
ping failed
ping success
MTU

A: Your Loopback pseudo-interface has an unusually big MTU.
AFAIS, the destination of the highlighted packet is your TP-link modem. The Source MAC address could not be identified. It generally shows the brand of your ethernet card, so it most probably is this strange Loopback device.
The problem you are facing does not seem to happen because of an unusually big MTU, I suspect this pseudo-interface is buggy, or it just blocks the website you are trying to connect to.
Disable/Uninstall this pseudo-interface and try again...

redpajama_set_name: RedPajamaStackExchange


EU law should guarantee the right to water and sanitation, the first valid EU citizens' initiative has said.
It also called for water services not to face liberalisation, collecting 1.8 million signatures after a campaign called Right2Water, which was backed by a string of NGOs and by the European Federation of Public Service Unions (EPSU).
The activists held talks with the European Commission and MEPs on Monday (17 February) to mark the event.
The petition is the first to successfully use the so-called European Citizens' Initiative (ECI), introduced in 2012 as part of the Lisbon treaty, which lets 1 million or more EU citizens task the commission with consideration of new laws.
A minimum number of signatories, based on each country's population, is required in at least seven member states.
Right2Water reached a quorum in 13 countries.
More than two thirds of the 1.8 million signatures came from Germany.
The procedure was put in place partly to address complaints that EU institutions are inaccessible and unresponsive to ordinary people.
"At least we have the feeling of having been listened to - that is already huge," said Anne-Marie Perret, who helped front the campaign, which reached the 1 million target in just three months.
"Our goal is to ensure that binding legal measures are adopted on this. Water should not be liberalised," she added.
The initiative calls for legislation to set a 100 percent target for good quality water and sanitation across the EU by 2016, with sanctions for countries that do not comply. It also calls on the EU executive to exclude water services from internal market rules and to keep them out of any trade agreement it negotiates.
Internal market commissioner Michel Barnier last year already excluded water from the scope of EU rules on contractors and operators after accusations the commission was promoting privatisation by the back door.
The commission will respond to the proposals by 20 March to say whether it will table new legislation.
Sefcovic also said the EU executive would look at ways to make the system easier to use when it revises the procedure in 2015, commenting that the commission had needed to step in with IT support for a number of previous campaign efforts.
The EU is set to re-write its legislation on access to drinking water in response to a pan-EU campaign backed by 1.8 million people.


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St. Joseph's hospital 'critically low' on protection supplies
Published: Mar. 30, 2020, 12:44 p.m.
Le Moyne College's chemistry department donated 10,000 pairs of examination gloves to St. Joseph's Health hospital, but the hospital is seeking more
Glenn Coin | gcoin@syracuse.com
Syracuse, N.Y. — St. Joseph's Health hospital in Syracuse announced today that they are "critically low" in personal protection equipment for doctors, nurses and other healthcare professionals fighting the coronavirus pandemic.
"We are taking it day by day," said Joe Bick, a registered nurse and the hospital's manager of emergency management and disaster preparedness, in a news release. "It's a constant challenge to get what we need to keep our patients and colleagues safe during this pandemic. We can't get PPE in stock fast enough using our traditional channels."
The hospital has received gloves, gowns and masks from several area schools, and is putting out a call to Central New York schools to donate more.
"The hospital needs masks, gowns, eye wear, hand sanitizer, thermometers and face shields," the news release said. "St. Joseph's Health has received personal protective equipment donations from a few local schools, but much more is needed."
Equipment must be commercially made and in its original packaging. The hospital asks anyone with donations is asked to call (315) 214-6855.
St. Joseph's said it has received 10,000 pairs of examination gloves from Le Moyne College's chemistry department; isolation gowns and hospital-grade sanitizing wipes from Holy Cross School, in DeWitt; and masks from Blessed Sacrament School, in Syracuse.
Onondaga County Executive Ryan McMahon said the county will come to St. Joseph's aid.
"We'll make sure St. Joseph's isn't going to run out," he said.
MORE ON CORONAVIRUS
Coronavirus in NY: Cases, maps, charts and resources
Onondaga County's coronavirus outbreak: Here's where we stand after 14 days
Updated list: Which CNY restaurants are open for takeout or delivery
CNY patients shunning home care workers over coronavirus fears
Coronavirus: Upstate NY will see 'rolling apex' of cases, Gov. Cuomo says

redpajama_set_name: RedPajamaCommonCrawl


Grab is a free app for Android that belongs to the category Transportation, and has been developed by GrabTaxi Holdings. It's recommended for ladies, londoners, commuters, tourists.
A full version app for Android, by Madpro Althea Media Development.
This app is best known for the following features and qualities: taxi app, save time, user friendly.
If you like Grab you'll also enjoy: Hailo - The Taxi Booking App, Easy Taxi - Book Taxi Cab App, MyTeksi: Book a ride, Uber, Meru Cabs, Citymapper.
What do you think about Grab? Do you recommend it? Why?


Northwest CT Chamber of Commerce – Our goal is to promote economic growth while enhancing the quality of life in Northwestern Connecticut.
Established in 1901, our mission is to promote economic growth while enhancing the quality of life in Northwest Connecticut.
Mission of the Chamber of Commerce of Northwest Connecticut, Inc.
To promote economic growth while enhancing the quality of life in Northwest Connecticut.


text:
Dusit attack suspect was a loner, neighbours say
Thursday January 17 2019
Surveillance footage captures two suspects involved in the attack on the DusitD2 hotel in Nairobi on January 15, 2019. PHOTO | COURTESY
Interior Cabinet Secretary Fred Matiang'i said all terrorists had been killed, but did not say how many they were.
Gichunge and Kemunto put all their household items on sale for Sh100,000, announcing on the social networking site Facebook that they were planning to move out of Nairobi.
By STELLA CHERONO
He was a quiet man who loved his car, cats and music. He kept to himself, only interacting with his butcher and the woman he lived with. On the estate security WhatsApp group, he never uttered a word.
He called himself Farouk, but his mobile phone SIM card was registered under the name Ali Salim Gichunge.
The woman he lived with, presumed by his neighbours to have been his wife, is named Violet Kemunto Omwoyo.
On her WhatsApp profile, she referred to herself as an Al-Shabaab bride.
Gichunge was the average Joe about town, but beneath that veneer of innocence lay a schemer whose true intentions and identity were revealed during the Tuesday terrorists attack when neighbours identified a car used by gunmen to storm the 14 Riverside Drive complex in Nairobi as the same one that was regularly used by Gichunge.
NEUTRALISED
Anatomy of terrorist attack on DusitD2 hotel
Dusit hotel attack: Survivors recount ordeal
She survived Westgate. Then came Dusit attack
'How my daring brother rescued me from hell'
The car had been rigged with a bomb, which was later detonated by bomb experts at the parking yard of the complex.
The car, a Toyota Ractis, is registered under Cynkim Investment Company in the National Transport and Safety Authority's database.
A police officer privy to the investigations said it appeared Gichunge had not transferred the ownership of the car to himself.
Although the car is specified as being light blue in colour, it was silver at the time of the attack.
Police suspect Gichunge was among the terrorists and neighbours say the attacker with a heavy physique could be the man who had lived among them for three months.
It remains unclear whether Gichunge was one of those killed inside the complex.
By yesterday morning, Directorate of Criminal Investigations detectives were still perusing the suspect's three-bedroom house.
Another white car that was parked outside the residence was dusted for fingerprints.
Detectives are also trying to establish the identities of the other suspects as they piece together the events that preceded the attack.
Hours after the attack, an Anti-Terrorism Police contingent arrived at Guango and raided the suspect's home, where they arrested Kemunto and another woman.
"Heavily armed police officers came here with almost 10 cars and made their way into the house at around 10pm. We don't know what they found," a neighbour said.
On Monday, just a few hours to the attack, Gichunge and Kemunto put all their household items on sale for Sh100,000, announcing on the social networking site Facebook that they were planning to "move out of Nairobi this week".
The items included assorted kitchen appliances, a 49-inch smart TV, several beds and mattresses, a seven-seater sofa set, carpets, shoes, a fridge and a microwave.
Their neighbours at Guango Estate located between Ruaka and Banana described Gichunge as a loner who was always smartly dressed and liked to play loud music in his car, even when he arrived late.
He told them he hailed from Kiambu, registered himself at the estate's gate as Salim Idriss, but was popularly known as Farouk.
A neighbour described him as a heavily built middle-aged man of medium complexion who liked to shave his head clean but kept a long beard, which he had dyed brown.
"He lived with a middle-aged woman, but never interacted with anyone apart from a butcher outside the gate, who sold him beef. He kept cats," the neighbour said.
Another neighbour said Gichunge moved into the gated community between October and November last year, but was added into the estate's WhatsApp group on November 10.
"He did not contribute much to any conversation," the neighbour said, adding that Gichunge did not put an image of himself on his WhatsApp profile.
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5 World Hong Kong police beaten bloody
6 Africa Libya: 9-month offensive to seize capital


text:
package com.adobe.acs.commons.images.transformers.impl;

import com.day.image.Layer;
import org.apache.sling.api.resource.ValueMap;
import org.apache.sling.api.wrappers.ValueMapDecorator;
import org.junit.After;
import org.junit.Before;
import org.junit.Test;
import org.junit.runner.RunWith;
import org.mockito.InjectMocks;
import org.mockito.Mock;
import org.mockito.MockitoAnnotations;
import org.mockito.Spy;
import org.mockito.runners.MockitoJUnitRunner;

import java.util.HashMap;

import static org.mockito.Mockito.reset;
import static org.mockito.Mockito.times;
import static org.mockito.Mockito.verify;
import static org.mockito.Mockito.verifyNoMoreInteractions;
import static org.mockito.Mockito.verifyZeroInteractions;
import static org.mockito.Mockito.when;

@RunWith(MockitoJUnitRunner.class)
public class ScaleImageTransformerImplTest {

    @Mock
    Layer layer;

    @Spy
    ResizeImageTransformerImpl resizeImageTransformer;

    @InjectMocks
    ScaleImageTransformerImpl transformer;

   ValueMap properties = null;

    @Before
    public void setUp() throws Exception {
        properties = new ValueMapDecorator(new HashMap<String, Object>());
        resizeImageTransformer = new ResizeImageTransformerImpl();
        transformer = new ScaleImageTransformerImpl();

        MockitoAnnotations.initMocks(this);

        when(layer.getWidth()).thenReturn(1600);
        when(layer.getHeight()).thenReturn(900);
    }

    @After
    public void tearDown() throws Exception {
        properties = null;
        reset(layer);
    }

    @Test
    public void testTransform_withMalformedScale() throws Exception {
        properties.put("scale", "50%");

        transformer.transform(layer, properties);

        verifyNoMoreInteractions(layer);
    }

    @Test
    public void testTransform_scaleAsDouble() throws Exception {
        properties.put("scale", ".50");

        transformer.transform(layer, properties);

        verify(layer, times(1)).resize(800, 450);
    }

    @Test
    public void testTransform_scaleAsDouble2() throws Exception {
        properties.put("scale", "1.50");

        transformer.transform(layer, properties);

        verify(layer, times(1)).resize(2400, 1350);
    }

    @Test
    public void testTransform_roundDefault() throws Exception {
        properties.put("scale", ".3333");

        transformer.transform(layer, properties);

        verify(layer, times(1)).resize(533, 300);
    }

    @Test
    public void testTransform_roundUp() throws Exception {
        properties.put("scale", ".3333");
        properties.put("round", "up");

        transformer.transform(layer, properties);

        verify(layer, times(1)).resize(534, 300);
    }

    @Test
    public void testTransform_roundDown() throws Exception {
        properties.put("scale", ".3333");
        properties.put("round", "down");

        transformer.transform(layer, properties);

        verify(layer, times(1)).resize(533, 299);
    }

    @Test
    public void testTransform_emptyParams() throws Exception {
        transformer.transform(layer, properties);

        verifyZeroInteractions(layer);
    }

    @Test
    public void testTransform_nullParams() throws Exception {
        transformer.transform(layer, null);

        verifyZeroInteractions(layer);
    }
}

redpajama_set_name: RedPajamaGithub


text:
Udinese goalkeeper tops list of Handanovic replacements at Inter
Written by: Vito Doria
Inter are interested in signing Juan Musso from Udinese as a long-term replacement for goalkeeper and captain Samir Handanovic.
The Nerazzurri are looking at a number of candidates to replace the former Slovenian international and the Argentine was integral to the Zebrette surviving relegation in 2019/20.
According to Tuttosport, Udinese want at least €30 million for Musso and they are unlikely to lower that price tag for Inter.
Other options in Serie A that the Biscione have been looking at include Alex Meret, who is second choice to David Ospina at Napoli but still valued at €40-50m, and Cagliari goalkeeper Alessio Cragno, who would cost no less than €25 million.
Inter will also be keeping an eye on 20-year-old Brazilian Gabriel Brazao, who is on loan at Spanish club Real Oviedo.
Musso has played in 73 competitive matches for Udinese since his arrival in the summer of 2018 and he has kept 22 clean sheets, with 14 of them coming in the 2019/20 Serie A season.


Foundation Stone Notes: No Foundation Stone or Memorial Plaque details are known. Informatuion/photographs are invited.
The former Coorabell Church property is now privately owned. No other details are known about the former church. More historical information/photographs of the former church/congregation are invited. Photographs uploaded 20/06/2016.


Garlic Nunda Mustard is definitely garlic! The taste and aroma makes this a unique addition to your condiment collection. Versatile as a spread on sandwiches or as a dip for pretzels or vegetables.
Try adding our Garlic Nunda Mustard to pasta, rice, salads, and other prepared dishes. Makes a wonderful glaze when broiling or grilling.
It is fat free, and only 12 calories per serving. Garlic Nunda Mustard contains no artificial preservatives. A garlic lover's dream come true.


Park City Haggis completed their fall season undefeated in Men's Club Division II play, finishing 7-0 overall and 5-0 in league play.
The latest victory came on Nov. 4 in a home game against the Denver Highlanders. Park City played a sloppy first half filled with poor passes and turnovers, but still led 10-5 at the mid-point. In the second half the Haggis began asserting itself and they won going away 46-15.
Maintaining rugby as a social sport, Park City treated its opponents to a BBQ followed by a gathering at the No Name Saloon hosted by the club's sponsor, Carlson Distributing. A number of former Utes play on the Haggis, including Tom Nielson, Jon Dalton, Ryan Fletcher, Chris Welch, Joe Vave, the ageless Ryan Dunyon, Golden Walzer, and Richard "Moose" White.


Due in part to excessive personal hygene, tamheals was running quite late for her flight to Orlando this morning. When we hit traffic on I-70, I informed her that she would not arrive at DIA in time to check her luggage. After a rough decision about high heeled shoes, I consolidated her luggage down to one carry-on bag and one personal item, the latter containing her toiletries bag containing essential oils bottles, a tube of toothpaste, and small bottles of shampoo.
Speeding on Peña Blvd. didn't make up enough time, so she realized in the security line that she wouldn't catch her flight. When she got to the checkpoint, they informed her that her toothpaste and shampoo exceeded the allowed 3 oz maximum.
There is a way to hijack an airplane with five ounces of shampoo and five ounces of toothpaste (and a dash of eye medicine and personal lubricant) which is not possible with three ounces of shampoo and three ounces of toothpaste.
The TSA has no idea what can blow up an airplane, but some Muslims in England came up with a (well-shampooed) hair brained idea involving unknown liquids, so the TSA is throwing chemistry to the wind assuming any liquid in sufficient quantities can blow up an airplane.
The TSA is well aware that you can't blow up a plane with shampoo, but wants to hassle you anyway for political purposes.
The TSA doesn't trust its employees to make decisions based on the gestalt of a traveller's luggage, so they devise a spaghetti code security policy in the hopes that any terrorists get entangled in mindless rule enforcement.
I laugh every time I am reminded of these rules.
Last trip I had stateside, I flew through San Francisco. Going through security to catch my domestic connection, my bag was selected because it was "suspicious". The lady took it to a table and proceded to dig through it. Mind you, not in a way that would look for something of danger, but in a way that would look for something barely qualifiable as "against the rules".
She found my amenity kit. She dug around in it, trying to read what each small item was. AH HA! The culprit was found. My 1 oz free-from-the-plane-toothpaste (this was before the slight ease of restriction) had stowed away in my kit. It was so small that I didn't see it when I removed crap that might make me dislike tsa even more.
The main problem I have with all of this is that there are are about 723476772 ways to make weapons... 17 of which are on a list of restricted plane items. Terrorism works. If you let it.


Nigel Paine headed the BBC's Learning and Development operation. He built an award winning Leadership programme, state of the art informal learning and knowledge sharing and one of the most successful and well used intranets in the corporate sector.
Now a Masie Learning Fellow, he works with companies in the UK, USA, Brazil and Australia, and teaches at the University of Pennsylvania in Philadelphia on the world's first doctoral programme for Learning Leaders. This is run jointly by Wharton Business School and the Graduate School of Education.
He has recently completed a global survey of talent management for ARK UK and is writing a book on C21st learning leadership.


The Kawartha Komets' 2011-2012 season is well underway and this weekend is a busy one. I'm glad we get an extra hour of sleep on Saturday night because we will need it.
The Juniors practice on Saturday morning at 11:15 at the Evinrude Centre and the Intermediate/Seniors follow at 12:15.
On Sunday morning, November 6th, we travel to Ajax to play the Durham Dragons. The Intermediate/Seniors play at 10:00 a.m. on Pad 4 and the Juniors play at 10:30 on Pad 3. Games take place at the Ajax Community Arena.
Last night Carol signed up four (4) new Juniors and fitted them with equipment. We now have a total of 45 players on our Kawartha Komets rosters.
Come out and watch us sometime soon!


text:
HomeWeb ExclusivesJennifer Lame Talks About Editing the Breakup of Adam Driver and Scarlett Johansson in 'Marriage Story'
Jennifer Lame Talks About Editing the Breakup of Adam Driver and Scarlett Johansson in 'Marriage Story'
November 25, 2019 Web Exclusives
Adam Driver and Scarlett Johansson in "Marriage Story." Photo: Netflix.
by Patrick Z. McGavin
Jennifer Lame, ACE, is one of the bright young lights of American independent cinema.
From "Frances Ha" (2012), the Oscar-winning "Manchester by the Sea" (2016) and the modern horror touchstone "Hereditary" (2018), the Philadelphia native has demonstrated a remarkable stylistic fluency as a picture editor, helping shape the works of leading American filmmakers such as Noah Baumbach, Kenneth Longergan, and Ari Aster.
She is currently at work on Christopher Nolan's new film, "Tenet."
She has edited Baumbach's last five features. Their newest collaboration, "Marriage Story," is one of the year's most celebrated films. The story charts the complicated, tense, and bruising relationship of a celebrated young New York theater director (Adam Driver) and his actress wife played (Scarlett Johansson).
In a wide-ranging interview, Lame talked about the nature of her work and preserving the artistic integrity of the director's vision.
CineMontage: This is the fifth film you have worked on with Noah Baumbach. What is the creative dynamic between the two of you?
Jennifer Lame: I think it has evolved quite a bit. When we first met, I hadn't done a lot of editing work, and I came on "Frances Ha" as an assistant and got bumped up because his other editor had some other obligations.
Each movie our relationship kind of evolved. Starting with "The Meyerowitz Stories (New and Selected) [2017]," I started helping Noah early on in the script process. I would say on this movie, everything we had been doing together kind of locked in and worked really well. He sent me the first draft of the script. We started editing together right away. I came to the set more than I ever had. We talked on the phone every day. Every little thing we had started to put into practice on every single movie all came together on this movie, and it was really successful.
We did "Frances [Ha]" first together. I was able to be so experimental on that film. While we were cutting that movie in some weird closet in Times Square—that movie was so low-budget—Noah was shooting a pilot for HBO. I was actually left alone during the week.
He'd come in on the weekends and he'd watch a bunch of stuff and give notes. He had to leave during the week, which he'd never done before. He was always very much in the editing room. I had so much time to play around. In a weird way because our relationship was established like that, I feel like he has always been very open with me about experimenting and say: "Go try these five different things." As a writer and director, he is not precious. He'd say, "Try moving this, or cutting that, and let's just watch it and see what it does."
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Jennifer Lame.
CineMontage: In "Marriage Story," the first major scene between Nicole, Scarlett Johansson's character, and the lawyer played by Laura Dern, is long and dense. How tough was that just to get that rhythm and pacing right?
Lame: That scene was very difficult, and we came back to it very often. The scene is the first really big one in the movie where you start to get a lot of information about what is going on. Up until that point, you are just kind of seeing these characters interact, but you have not been given a lot of information about what is going on. We are setting this tone, this idea of these lawyers, this notion of seduction, of Laura Dern trying to convince Scarlett of giving into this whole actual divorce legal element they were trying to avoid. Scarlett is telling her side of the story.
I think for a while the scene was too long, pre-monologue. It was too much information and it was this balance of getting the seduction right, getting just the right amount of exposition, which is that her character wants to stay in California and Charlie wants to live in New York. So setting up the story without making it boring and then getting to the monologue, and you don't want to lose this audience before you get to the monologue because it's quite long.
CineMontage: The movie is really an actors' showcase.
Lame: I think for the actors, it was so challenging and fun for them because there are so many layers of performance. They're performing in this relationship. When you go through a breakup, you almost forget who you are, fighting with this person. You are performing in a way. They tell these lawyers these horrible things about their spouses and then they are sitting in a courtroom and all of this stuff comes back to haunt him.
They are constantly performing. As an editor, it was constantly exciting to think about: who is this person now, who do they think they are, who are they opting for and what are they trying to accomplish.
I love the fight scene because Scarlett's character, Nicole, shows up trying to be this calm and collected person that clearly the minute Charlie gets her goat, she snaps.
CineMontage: The scene where Charlie is being formally served with the divorce papers: Baumbach has said it's like Hitchcock, where the bomb is placed under the table and everybody is waiting for it to explode.
Lame: That scene was really challenging because we really wanted the scene leading up to that to be so funny. I think up until that moment, the movie is getting increasingly serious and depressing. She is finally back with her mom and her sister, and we wanted to show that dynamic between her mom and her sister and show the audience why she wanted to be in Los Angeles so badly, to be close to her family. Making that scene funny also had that second job of really winning the audience over and making them understand why Nicole wants to be there. As you are laughing along, you are unconsciously absorbing that.
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When I watched it a theater, I was always happy the audience is laughing, laughing, laughing and then all of a sudden: dead silence. That is what we wanted. You don't want people just to keep laughing after he gets served because it's so sad. It's that crescendo of, how far do we want to take the laughter? And then slowly pull it back.
CineMontage: Either Nicole or Charlie are in every scene. How aware were you of not stacking the deck against either character?
Lame: That was something we constantly talked about. I think towards the end of the film, there were some things we took out to make sure in watching the film, you never feel it's weighed toward one of the characters emotionally and narratively. We wanted the film to feel even. We were constantly thinking about that on
three levels: narratively, character-wise, and also time spent.
CineMontage: The movie has two big numbers from the Stephen Sondheim musical "Company," that feel like a summation, a bringing together of so many of the themes and ideas of the film. Is that how you saw it?
Lame: I love that musical performance for so many different reasons. First of all, on a basic level, part of the reason Nicole and Charlie both fall in love is they both love theater. Just seeing them perform in those natural settings they both love makes them feel connected to me in a way that makes me really sad. I think that is really beautiful to have that end the film.
The other thing, I never thought of the film like "Kramer vs. Kramer" (1979), [as] a "divorce movie." I always thought of it as a relationship movie. I actually thought of it like "Frances Ha," a breakup film that is just complicated, just two people on a different journey. I thought of Nicole's journey, in the beginning, she was the
spearhead of all of this and she recovered and moved on faster than Charlie.
His song is a realization, it's finally dawning on him for the first time what has happened because he has been so caught up in getting back to New York I don't think he has thought about the relationship part at all or the loss of Nicole. His song is so devastating and beautiful. He hasn't thought about the fact that he is losing the woman he loved. It's just these two characters on a totally different timeline.
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CineMontage: What drew you to want to become an editor?
Lame: I always loved movies. When I went to film school, I was not exactly sure what I wanted to do, and I ended up making a documentary. I shot all of this footage and I had to edit it, and I became obsessed with finding the film in the editing room. I just realized I loved the editing process.
When I was younger, I was always a nerd. I played computer games and I liked playing board games. I love puzzles and mysteries. I think for me editing is fun because you have all of this stuff, and it's a puzzle and you have to fit it together. It always locks in one right way. Finding that way is really daunting.
I think my brain has always liked that mental challenge. Growing up my dad was an investigative journalist and then he became a private investigator. I think it runs in my family, just liking to figure things out. The whole part of editing I find really thrilling.
CineMontage: You studied with the famous film historian Jeanine Basinger as Wesleyan. What was that like?
Lame: I wanted to go to a film school where you watched a lot of movies. I love analyzing movies. I wanted to go to a film school where it was very analytical rather than production-based. I like to know what I am doing before I do it.
CineMontage: How do you think your ideas about cutting and shaping performances have evolved since you started?
I am so lucky that I got my start with Noah because I care so much about character and performance and just finding through the story in the character and the
performance. If the story is good and the characters are good, then the movie is going to be good.
I remember when Ari Aster asked me to cut "Hereditary." I said, "I don't want to do a horror movie. I don't like horror movies."
He called me and said, "Look, I love Noah and 'Manchester [by the Sea].' I don't want a horror editor. I just want to focus on the story and the family dynamic. I said, "I can do that."
I've heard so many people tell me "Hereditary" is so scary, which is funny to me because I didn't worry about that. I worried about making the characters good. It's nice to know as long as you focus on that stuff, the other stuff falls into place.
Patrick Z. McGavin is a Chicago-based film critic and cultural journalist. His interviews, essays and film festival dispatches have appeared at RogerEbert.com and Chicago Reader.
Picture Editors
Winter Reading – And Gifting
'Avatar' Editor Stephen Rivkin Named President of American Cinema Editors
A Hip-Hop, Sci-Fi, Pro-Union, Cold-Calling Comedy: Terel Gibson on Editing the Summer Hit 'Sorry to Bother You'


Delegation is the process of assigning your Tezos tokens baking and endorsement rights to another account.
What are baking and endorsement ?
Baking and endorsement are predefined processes in Tezos protocol which build the Tezos blockchain and award the baker with new minted Tezos.
Why should I delegate my tokens to TzBake ?
TzBake uses your baking rights to mint new Tezos tokens and returns 86% of the minted Tezos tokens back to you.
What kind of risks do I take by delegating my tokens ?
The only risk that you are taking is that the delegation service doesnt pay your rewards. Your capital is safe in your own account.
How can I delegate my tokens ?
The specific instructions depend on the wallet which you are using.
But generally speaking, you should create a new KT1 contract and set our delegation address (available on our homepage) as the delegate and transfer your Tezos tokens to the contract address.
You can find the step by step instructions on our How To page.
Can I cancel or reassign my delegation ?
Yes, you can cancel or reassign your delegation at any time from your wallet.
How much gains can I expect ?
It depends on many factors. But simply speaking you can expect at least 5% annual return if you delegate and 8.5% annual return if you invest your tokens in TzBake investment program.
What kind of hardware do you use to bake ?
It is actually one of the trade secrets. What we can tell you is that we own our infrastructure in a reputable datacenter, providing 100% uptime, DDOS protected, gigabit Internet connection to our nodes. Also our nodes are secured by different technologies which we can not reveal here.
We would not be using cheap cloud providers like AWS or etc.
The security of the node matters to us more than anyone, because of the security of our bond tokens.
Do you provide a fixed or dynamic return ?
We provide a dynamic return of 86% of revenue in case you delegate your tokens to TzBake.
We provide a dynamic return of 100% of revenue + 50% revenue share in case you invest your tokens in TzBake.
Can I track my delegation profits in realtime ?
Absolutely. You can use our delegation tracking tool on TzBake homepage to monitor your profits for every cycle in realtime.
Your fee is expensive, I have found cheaper delegation services !
A lot of cheap delegation services are run by scammers, kids or incompetent people. Anyone can make a website in 10 minutes and claim to be a delegation service. It is open market. Just imagine how many people would open a bank if there was no regulations !
Based on Tezos protocol, the reward payouts are not due for at least one month so it takes the clients a long time until they find out they will be paid as promised or not.
We follow an industry standard fee for a professional service and provide the highest level of service quality, security and reliability.
But still if you decide to risk your rewards on a 5% fee baker who has just learned how to activate his Tezos wallet or has no plans to pay you when the time comes, we respect your decision and wish you the best of luck.
Where does your revenue come from ?
Our revenue includes new Tezos tokens minted by baking and endorsing blocks and operational fees.
86% of all of our revnue will be paid back to your account.
How do you pay back my returns ?
We would send your profit to your KT1 account so you would get compunded interest on it.
How accurately do you calculate the profits ?
We have developed a proprietary adavanced accounting software which connects to the Tezos node RPC interface and by performing hundreds of queries, calculates all of deleguees shares based on the exact snapshot roll which was chosen to calculate our rolls. It is a precise calculation based on the Tezos blockchain and no approximation or averaging method is being used.
When can I expect my first payment from the date of delegation ?
You could expect your first payment in approxiamtely 36-39 days! We understand it seems like a long time, but we are not holding your share! it is simply how Tezos protocol is designed and is same for all bakers. We pay you as soon as your reward is available.
Whenever we bake or endorse a new block, we should post a bond to the network. this bond will be frozen for 5 cycles.
We put up 100% of the required bond from our own account.
Over-delegation happens when we have too much tokens delegated to our account. So we would have baking and endorsement rights, but we are short on required bond to use this right. In this case, the baking or endrosement opportunity will be forfeit to another baker and revenue will be lost for us.
Can't you control the delegations to your account so over-delegation doesnt happen ?
No, by design we can not control who delegates to our account.
What is your policy in case over-delegation happens ? will it reduce my profits ?
It depends on when you have delegated your funds to us.
Our policy is "First come, First serve".
Meaning the deleguees who delegated first will get their full profit and the deleguees who delegated later and caused the over-delegation will not get any profit.
How can I make sure that my delegation will get the full profit ?
Because of the 6 months ramp-up period, there are no risks of over-delegation for TzBake right now.
– Publishing a public page listing the contracts which are in over-delegated status.
– Informing our deleguees who have subscribed to our newsletter.
– Providing over-delegated status in our performance tracking report page.
I have more questions how can I contact you ?


text:
Q: Convert ieee754 half-precision bytes to double and vise versa in Flutter I have a device that provides temperature data in ieee754 half-precision float format, i.e. [78, 100] = +25.5C.
Now, Dart/Flutter doesn't support HP-Float conversions out of the box. After googling around, I have found several solutions that I was able to put together into one that seems to be working fine. Having not done this for many years I am asking pro's to look this over. Also, I'm sure this will save some time to folks like me who need this functionality. This has been tested in temperatures from -10C to +35C and seems to convert correctly both ways. Here _ieee754HpBytesToDouble converts HPF bytes to 64-bit double and _ieee754HpBytesFromDouble converts 64-bit double to half-precision bytes.
  ///
  /// Double to Uint8List
  ///
  Uint8List _ieee754HpBytesFromDouble(double fval) {
    int result = _doubleToBits(fval);
    Uint8List beef = _int32bytes(result);
    return Uint8List.fromList(beef.reversed.skip(2).toList());
  }

  ///
  /// Double to hp-float bits
  ///
  int _doubleToBits(double fval) {
    ByteData bdata = ByteData(8);
    bdata.setFloat32(0, fval);
    int fbits = bdata.getInt32(0);

    int sign = fbits >> 16 & 0x8000;
    int val = (fbits & 0x7fffffff) + 0x1000;

    if (val >= 0x47800000) {
      if ((fbits & 0x7fffffff) >= 0x47800000) {
        if (val < 0x7f800000) return sign | 0x7c00;
        return sign | 0x7c00 | (fbits & 0x007fffff) >> 13;
      }
      return sign | 0x7bff;
    }
    if (val >= 0x38800000) return sign | val - 0x38000000 >> 13;
    if (val < 0x33000000) return sign;
    val = (fbits & 0x7fffffff) >> 23;
    return sign |
        ((fbits & 0x7fffff | 0x800000) + (0x800000 >> val - 102) >> 126 - val);
  }

  ///
  ///
  ///
  Uint8List _int32bytes(int value) =>
      Uint8List(4)..buffer.asInt32List()[0] = value;

  ///
  ///
  ///
  double _bitsToDouble(int bits) {
    Uint8List list = _int32bytes(bits);
    ByteBuffer buffer = new Int8List.fromList(list.reversed.toList()).buffer;
    ByteData byteData = new ByteData.view(buffer);
    double result = byteData.getFloat32(0);
    return result;
  }

  ///
  ///
  ///
  double _ieee754HpBytesToDouble(List<int> i) {
    int hbits = i[0] * 256 + i[1];
    int mant = hbits & 0x03ff;
    int exp = hbits & 0x7c00;
    if (exp == 0x7c00)
      exp = 0x3fc00;
    else if (exp != 0) {
      exp += 0x1c000;
      if (mant == 0 && exp > 0x1c400) {
        return _bitsToDouble((hbits & 0x8000) << 16 | exp << 13 | 0x3ff);
      }
    } else if (mant != 0) {
      exp = 0x1c400;
      do {
        mant <<= 1;
        exp -= 0x400;
      } while ((mant & 0x400) == 0);
      mant &= 0x3ff;
    }
    return _bitsToDouble((hbits & 0x8000) << 16 | (exp | mant) << 13);
  }

A: For FP64<->FP32 conversion, use standard casting and for FP32<->FP16 conversion use these ultra-efficient conversion algorithms:
double half_to_double(const ushort x) { // IEEE-754 16-bit floating-point format (without infinity): 1-5-10, exp-15, +-131008.0, +-6.1035156E-5, +-5.9604645E-8, 3.311 digits
    return (double)half_to_float(x);
}
ushort double_to_half(const double x) { // IEEE-754 16-bit floating-point format (without infinity): 1-5-10, exp-15, +-131008.0, +-6.1035156E-5, +-5.9604645E-8, 3.311 digits
    return float_to_half((float)x);
}


Scragow, Michael( 9 July 2012). Rewatching Hitchcock's ' The 39 minutes ' '. French, Philip( 24 July 2012). My accessory Hitchcock: The Lady Vanishes '.
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Home Special Reports 5 Soldiers Killed In Rivers, Wike Declares War
5 Soldiers Killed In Rivers, Wike Declares War
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About five soldiers were among security operatives killed in the orgy of violence reportedly perpetrated by members of the proscribed Indigenous People of Biafra in Rivers State, it was gathered at the weekend.
The police earlier linked IPOB members hiding under the #EndSARS protest, to the attacks and destruction of the Police Area Command and police stations at Oyingbo Local Government Area.
The attackers reportedly killed three policemen in a bizarre manner cutting off the hand of one of the police operatives, that attempted to shoot at them.
Sources said they hacked the police Armoured Personnel Carriers (APC) driver to death, burnt the second victim alive and stoned to death the third policeman.
They were said to have burnt over 15 police vehicles, a hospital and an Appeal Court complex located in Oyigbo
The circumstances surrounding the killings of the soldiers were unknown, a source wrote on his Facebook wall on Thursday said that he was at the Military Hospital in Port Harcourt when the corpses of the soldiers were brought into the facility.
The source, who spoke in confidence said: "I am at the military hospital in Port Harcourt and I can confirm that five soldiers were brought in dead two days ago (Wednesday).
" I witnessed a very short session when one of the captains instructed the soldiers on mannerism and how to talk to the people. However, people should not take their humanity for granted.
"They are hurting. They already have an instruction not to shoot and that instruction though fair can also hurt seeing that their brothers are being killed".
The Spokesperson for 6 Division, Nigerian Army, Maj. Charles Ekeocha, however, said the matter had not been reported to his office.
But the Rivers State Governor, Nyesom Wike, in a statewide broadcast listed the killing of soldiers, policemen and wanton destruction of properties as part of the reasons why he reinforced the ban on the activities of IPOB in the state.
Wike in a statement signed by his Special Assistant on Media, Kelvin Ebiri, also placed N50million bounty on one Stanley Mgbere said to be the leader of IPOB in the state.
Wike said no form of procession or agitation by the group or any of its affiliates would be allowed to take place in the State henceforth.
He said that the activities of the banned IPOB were not just dangerous to lives and property, but were also threats to the existential interest and aspirations of Rivers State and all her people.
He said: "Security agencies are hereby directed to stop any form of procession or agitation by IPOB in Rivers State or any part thereof and arrest and prosecute any person or group that identifies with the membership or activities of IPOB in the State.
"Government will issue an executive order to strengthen and ensure the effective enforcement of these measures."
The governor promised to hold meetings with all leaders of youth groups and community development committees in the State on 26th October to take holistic measures to counter and stop all IPOB activities in the state;
"One Mr. Stanley Mgbere is hereby declared wanted for leading members of the banned IPOB to cause the recent violence and destruction of lives and property in Oyigbo Local Government Area; and a ransom of N50,000,000.00 will be given to any person with useful information that would lead to his arrest and prosecution," he said.
He recall that since IPOB was classified as a terrorist organisation by the Federal High Court and subsequently proscribed in September 2017 by the Federal Government, the group had carried out intermittent processions in parts of Rivers State, especially in Oyigbo and some notorious suburbs in Port Harcourt Local Government Areas.
He said IPOB aim was to disturb the peace of the State by unleashing violence and destruction on lives and property at will.
He said the government severally pleaded, warned and even advised IPOB and its members to discontinue its insurrectional actions in Rivers to no avail.
"Instead, IPOB unleashed another orgy of violence and destruction inflicted at Oyigbo Local Government Area and some parts of Port Harcourt City Local Government Area on Tuesday 21st October 2020.
" This evil, wicked and audacious action resulted in the unnecessary loss of scores of lives, including soldiers and police officers, and the destruction of both public and private properties, including police stations, court buildings and business premises.
"Not done, members of the outlawed group also visited physical violence on members of some targeted community which, but, for the quick intervention of the State Government and the security agencies, would have resulted in some form of internecine bloodbath in the state.
" IPOB continued with its devilish and destructive activities at Rumukwurushi, Iriebe and Oyigbo in open defiance of the State Government's curfew on human movements.
"Security intelligence and surveillance have revealed that IPOB has continued to expand its membership drive, holding meetings regularly, and expanding its logistical base, including the maintenance of illegal detention cells in Emenike and other parts of Diobu, Port Harcourt.
"As a matter of fact, Oyigbo town has practically become the group's main operational base in Rivers State, from which they've become notorious for launching premeditated violence and terror on the State, businesses and innocent citizens.
"As a people, we have become very much unsettled by the terrorist acts and endured the continuing irritations, violence, destruction and provocations of IPOB in and against the people of Rivers State."
Wike said IPOB had no legal or moral right to invade Rivers State or any part at its behest to disturb public peace and subject lives and property to violence or threat of destruction under any guise.
He said: "Rivers State's love, accommodation and hospitality towards all who reside in and do business in the state are being mistaken for weakness by the banned IPOB. To this end, he warned that enough is enough as the government can no longer tolerate the menace of IPOB.
"I wish to appeal to the people of Oyigbo Local Government Area to remain calm and not to take the laws into their hands despite the intense provocation as government has the capacity to deal with the challenge and ensure the safety of lives and property in the Local Government Area.
"We will soon carry out on the spot inspection and assessment of the destruction they have suffered and take appropriate measures to mitigate the loss and damage caused to lives and property."
Wike expressed his heartfelt sympathies to the families of all those that either lost their loved ones or suffered damage to their properties from the destructive acts of IPOB in our state.
Source: https://thenationonlineng.net/five-soldiers-killed-as-wike-declares-war-on-ipob/
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Happy 2nd of July!! - Turrentine Insurance Agency, Inc.
Home > Blog > Happy 2nd of July!!
It's that time of year: fire up the grill for some good old-fashioned hamburgers and hot dogs! Serve 'em up with some baked beans and potato salad, sweet tea and lemonade. Top off the meal with some homemade ice cream and watermelon. Bring on the sunshine and swimming, the baseball and family fun, the parades and fireworks displays. It's time to celebrate! Happy 4th of July!!
Most Americans know this holiday is set aside to celebrate our independence as a nation. This holiday commemorates the day the thirteen original colonies were declared separate from Great Britain in 1776.
July 4, 1776 is the date shown on the highly publicized Declaration of Independence; hence, the reason July 4th is celebrated as Independence Day rather than July 2nd--the "technical" day of independence.
I honestly think this means we should celebrate BOTH days… J More food and fireworks, please!
As you enjoy your Life and Liberty this 4th of July weekend, what pursuits of Happiness will you commemorate the day with?
Turrentine Insurance Agency will be celebrating the holiday with their families on Friday, July 3, 2015.