text:
Q: C Issues with pointers and a queue I am using a self-written queue library with the following structure:
#ifndef MYQUEUE_
#define MYQUEUE_

#ifndef SET_QUEUE_SIZE
    #define SET_QUEUE_SIZE 10
#endif

typedef struct queue Queue;

/*
**  Creates and initializes the queue and prepares it for usage
**  Return a pointer to the newly created queue
*/
Queue* QueueCreate();

/*
**  Add an element of a generic type to the queue
*/
void Enqueue(Queue* queue, void* element);

/*
**  Delete the queue from memory; set queue to NULL
**  The queue can no longer be used unless QueueCreate is called again
*/
void QueueDestroy(Queue** queue);

/*
**  Return the number of elements in the queue
*/
int QueueSize(Queue* queue);

/*
**  Return a pointer to the top element in the queue
*/
void* QueueTop(Queue* queue);

/*
**  Remove the top element from the queue
*/
void Dequeue(Queue* queue);

#endif //MYQUEUE_

Now, I'm having issues with putting it in and receiving it out from the circular queue. The queue itself has been tested and shouldn't give any issues.
Running the code below (it's an extract of the total program) my two prints don't print the same values. Where am I pointing wrong?
#include <stdlib.h>
#include <stdio.h>
#include <time.h>

#include "libs/myqueue.h"

struct package{
    unsigned sensorId:12;
    unsigned sequence:4;
    unsigned flag:2;
    unsigned sign:1;
    unsigned value:12;
    unsigned parity:1;
};

typedef struct package packs;

struct sensor_time{
    packs myPack;
    time_t time;
};

typedef struct sensor_time Sensor_Time;

Queue* queue = NULL;

int main(void){
    queue = QueueCreate();
    if(queue == NULL){
        printf("Error creating circular buffer.\n");
        exit(EXIT_FAILURE);
    }

    Sensor_Time * myData = malloc(sizeof(Sensor_Time));
    myData->myPack.sensorId = 1;
    myData->myPack.value = 20;
    myData->time = time(NULL);
    printf("Enqueued: id: %d, value: %d, time: %lu\n", myData->myPack.sensorId, myData->myPack.value, myData->time);

    Enqueue(queue, (void *)myData);

    Sensor_Time * mySens = (Sensor_Time *)QueueTop(queue);
    printf("Data read: id: %d, value: %d time: %lu", mySens->myPack.sensorId, mySens->myPack.value, mySens->time);

    return 1;
}

What gets printed:

For completeness, here the queue implementation:
/*----- Include Files -----*/

#include <stdlib.h>
#include <stdio.h>

#include "myqueue.h"

/*-----   Variables   -----*/

typedef void * DATATYPE;

struct queue{
    DATATYPE elements[SET_QUEUE_SIZE];
    size_t count;
    int front;
    int rear;
};
typedef struct queue Queue;
typedef Queue *myQueue;

/*----- QueueCreate   -----*/

Queue* QueueCreate(void){
    #ifdef DEBUG
        printf("QueueCreate called.\n");
    #endif

    Queue* qu = malloc(sizeof(Queue));
    qu->count = 0;
    qu->front = 0;
    qu->rear = 0;
    return qu;
}

/*----- QueueCreate    -----*/

void Enqueue(Queue* queue, DATATYPE element){
    #ifdef DEBUG
        printf("Enqueue called,  on queue %p.", queue);
        int location = queue->rear;
    #endif

    if(queue->count == SET_QUEUE_SIZE){
        printf("Queue is full.\n");
    }else{
        queue->elements[queue->rear] = element;
        queue->count++;
        queue->rear++;
        if(queue->rear == SET_QUEUE_SIZE - 1){
            queue->rear = 0;
        }
    }

    #ifdef DEBUG
        printf(" Element added on location %d.\n", location);
    #endif
}

/*----- QueueDestroy   -----*/

void QueueDestroy(Queue** queue){
    #ifdef DEBUG
        printf("QueueDestroy called on %p\n", queue);
    #endif

    free(*queue);
    *queue = NULL;
}

/*----- QueueSize   -----*/

int QueueSize(Queue* queue){
    #ifdef DEBUG
        if(queue->count > 0){
            printf("QueueSize called. Size is %d.\n", (int)queue->count);
        }
    #endif

    return queue->count;
}

/*----- QueueTop    -----*/

void* QueueTop(Queue* queue){
    #ifdef DEBUG
        printf("QueueTop called\n");
    #endif
    if(queue->count == 0){
        return NULL;
    }else{
        return &(queue->elements[queue->front]);
    }
    return NULL;
}

/*----- Dequeue     -----*/

void Dequeue(Queue* queue){
    #ifdef DEBUG
        printf("Dequeue called on %p.", queue);
        int location = queue->front;
    #endif

    if(queue->count == 0){
        printf("Queue is empty.\n");
    }else{
        queue->front++;
        if(queue->front == SET_QUEUE_SIZE - 1){
            queue->front = 0;
        }
        queue->count--;
    }

    #ifdef DEBUG
        printf(" Removed element was on location %d.\n", location);
    #endif
}

A: Your queue stores elements of type void*. However, QueueTop returns a pointer to the first element, which would make it of type void**. The fact that the function is declared as returning void* instead of DATATYPE* makes this confusing, but it's legal because any pointer can be converted to void*, including a double pointer.
When you add an element to the queue, you cast it from Sensor_Time * to void*. Later when calling QueueTop, you take the return value and cast it to Sensor_Time *, which is wrong, because it is actually a pointer to a pointer.
To fix, you'd need to either change QueueTop to return an element rather than a pointer to an element, or change your calling code to dereference the returned pointer.


text:
Lutronic® Announces FDA Clearance for Healite II™, An Advanced 830 nm LED Phototherapy System
December 11, 2012 — Fremont, CA
The HEALITE II, an 830 nm LED Phototherapy System, received FDA 510k clearance and is now available for sale in the US, following its successful global launch in Europe, the Middle East, Asia and South America.
Lutronic, a global leader of lasers and therapeutic devices for aesthetic and medical applications, announced today the Healite II™ is now available for sale in the US, following its receipt of the 510(k) clearance from the United States Food and Drug Administration (FDA). "The 830 nm LED phototherapy system will do well in the US market, appealing to physicians looking to expand their clinic's services," stated Ann Marie Collier, Global Products & Marketing Officer, "with a wide range of applications including aesthetic, surgical, and even in geriatrics."
"LED phototherapy has been known in the market for many decades by virtue of its various therapeutic benefits. However we wanted our product to stand out from the low-powered and low-quality LED products prevailing in the current market," said R. G. Calderhead, Vice President of Medical and Scientific Affairs Division of Lutronic, "Healite II offers technological advances to ensure maximum energy delivery to the tissue and ease of use features that physicians will appreciate."
In the US, the 830 nm HEALITE II is cleared for use in temporary relief of minor muscle and joint pain, arthritis and muscle spasm; relieving stiffness; promoting the relaxation of muscle tissue and temporarily increasing local blood circulation where applied. Each of these applications can be expanded into a variety of useful treatments. Prof. Won-Serk Kim, Associate Prof. and Chairman, Department of Dermatology, Kangbuk Samsung Hospital, Sungkyunkwan University School of Medicine, South Korea, revealed, "HEALITE II is a useful adjunct to almost any aesthetic treatment. It is so important now that I couldn't imagine practicing aesthetic medicine without it. It brings benefits to everything from injectables to laser and light-based treatments." Healite II is an excellent adjunctive therapy for many procedures or can be used stand-alone.
In Europe, HEALITE II received CE clearance for wound healing, skin rejuvenation and pain relief. Dr. Franco Lauro, Plastic Surgeon, Casa Di Cura Villa Torri, Italy, stated "HEALITE II can reduce patient downtime consistently by 30% to 40%. It is unique and has virtually no competition. I can use it anywhere but I see the best response on the face and neck." Although such indications have not yet received FDA clearance in the United States, Lutronic is currently working on obtaining these clearances through a variety of clinical evaluations.
About HEALITE II
HEALITE II is a Light Emitting Diode (LED) phototherapy system that is globally available with three different wavelengths: 830 nm, 633 nm, and 415 nm*. It can be used as a stand-alone therapy or adjunctive to a wide variety of treatments, including aesthetic laser treatments. Each wavelength targets various different indications. Patients of all ages and skin types can benefit from the pain free, athermal and easy to apply Healite treatments. HEALITE II is a 'must-have' device for all clinics looking to improve patient services, minimize downtimes, enhance recovery and complement other treatments.
Important features of HEALITE II are seen as below:
1800 durable, high quality LEDs
Optical Lens Array Technology (OLAT) for improved photon intensity
Fully adjustable head, panels and arm
Distance sensor
User-friendly touchscreen
Stable and easy to maneuver
*HEALITE II received CE marking in April 2011 and its 510(k) in June 2012; FDA clearance is limited to only the 830 nm wavelength at this current time.
To learn more about the HEALITE II please visit: www.lutronic.com/healite
Lutronic, a leading innovator in advanced aesthetic and medical laser and related technology, was established over 15 years ago to bring intuitive, robust, versatile devices that are affordable and efficacious to the worldwide medical community. Committed to improving medicine, Lutronic partners with key opinion leaders to advance science and ensure the efficacy of its systems. All systems are versatile and offer multiple setting and treatment options for customized treatments, which optimize outcomes for a wide variety of conditions and treatments including melasma, tattoo removal, soft tissue incision, vascular lesions, hair removal, wrinkle reduction, skin resurfacing, body/facial contouring, chronic pain and more.
With a focus on physician needs and patient outcomes, Lutronic dedicates time and funding toward the development of devices that offer features and improvements not found in today's market. Devoting more than 15% of revenues to R&D, Lutronic holds more than 130 current and pending patents worldwide. With more than 230 employees worldwide, Lutronic has offices in the US, Korea, China, Japan, and Europe, a worldwide network of distributors, focused R&D centers in both the US and Korea, and is ever expanding.

redpajama_set_name: RedPajamaCommonCrawl


text:
American Performance Artist, Film Maker, Installation Artist
Born: 1936 - New York
Mirror Piece I (1969)
Organic Honey's Video Telepathy (1972)
Juniper Tree (1976)
My New Theatre 1: Tap Dancing (1997)
Reanimation (2010)
Stream or River, Flight or Pattern (2016-17)
Education and Early Training
"I rehearsed my work only at night, and when I rehearsed, I stepped into another space that was not the same as my everyday space. You could almost call it a séance."
"I'm just very interested in life, I'm curious about many things. And when I finish one piece, I'm challenged to do the next one to explore and experiment, and to go into the unknown continually. I mean one never know what a work is going to be at the start, I find the images as I work."
"From the very beginning, when I first started working with video I was involved with this idea around layering. And seeing more than one thing at once, simultaneously side by side, or now layered on top of each other. It's the way the brain works, you think of one thing and you see another. One's mind is layered in that way."
"The relationship between animals and humans is very mysterious, and I think it's very important, especially in this world right now, the planet we're living on."
Summary of Joan Jonas
Joan Jonas's practice is one full of the synergy, dynamism, and constant flux that is present in life itself. There is nothing static or easily definable about this art. Jonas works as a Performance artist, but within this realm she incorporates drawing, dance, noise, video, travel, and at the same time introduces various sculptural objects, photographs, and props. She also interweaves a plethora of literary sources, including poems, myths, and fairytales, and as such, presents a highly complex and multi-layered private imaginative world to a public audience. The result is not usually simple, and often viewers feel overwhelmed, as though they cannot grasp any sense of linear narrative in the artist's work. This is the honesty and integrity of a Jonas piece; she exposes without restraint that the self is fragmentary, anxious, and ultimately nonsensical. Since the early 1960s, and still today, albeit now with more institutional support, Jonas continues to examine her own identity, often in relation to other artists, cultural rituals, gender equality, societal gaze, and contemporary politics.
Jonas is not afraid to let pieces take on a life of their own. Jonas's performances are more like paintings in this way; they start and then evolve intuitively. It is a major achievement to be able to make art without imposing limitations. Most performances by others are more tightly planned and wholly envisioned before they begin.
Jonas is interested in the relationship between humans and animals. She suggests that to live spiritually is to live alongside creatures, and for Jonas, this is usually a dog. In art history, interestingly, a dog is curled up by the feet of the figure of Melancolia (1514)in Albrecht Dürer's famous engraving, presenting the dog a suitable companion for the curious and reflective mind. Kiki Smith visits the same themes, and Joseph Beuys, when locked in a room with a coyote, positioned himself a shaman, acknowledging the same sense of "magical intrusion" that Jonas's speaks of when in the company of animals.
Jonas brings movement to static Surrealist works, for example, Jonas's My New Theater pieces, in which videos are displayed in wooden boxes with props inside recall the creations of Joseph Cornell. Her whole career echoes the important Surrealist question, Who Am I, and the recurrence of the mirror reasserts this idea. Her use of funnels, trumpets, and spheres are motifs also found in the canvases of Remedios Varo, and all such parallels remind the viewer that Jonas too is interested in mixing the conscious and unconscious together. Like the Surrealists, she is an artist working to celebrate the imagination, to unite disparate elements, and to dissolve boundaries.
Today, Jonas re-visits old performances and restages these in new locations, with new props, and with new performers. As such she successfully communicates that everything evolves and changes, and that in fact, to freeze anything in time can only be something of an illusion. She reveals that although traditional art may bring peace and space for reflection, it only serves to provide contrast to the chaos and endless shift in life, whilst her work, by contrast, holds a mirror up to this.
Important Art by Joan Jonas
Artwork Images
Mirror Piece I
In Mirror Piece I, Jonas along with other female performers employs mirrors as props in which they slowly perform a series of choreographed movements in front of a live audience. The work immediately recalls the work of fellow artists Ana Mendieta and Francesca Woodman, but while these two artists performed only for their camera, the audience is crucial for Jonas. Indeed, in the Jonas version of this way of assessing identity, the mirrors reflect not only the bodies of the performers, but also, and just as importantly, the audience members themselves. Indeed, by using very large mirrors that could easily break if not handled correctly, Jonas sought to create an unsettling feeling. When asked about the use of the mirror in her work, Jonas has commented that she "was interested in how an audience might feel uneasy as they were caught looking at themselves in the performance. In a way, narcissism is the nature of the medium."
This interest in narcissism, in the fabric of selfhood, remains an equally crucial focus today as it was in 1969. The work was re-staged in 2018 at the Tate Modern exhibition, and Jonas has said of such re-envisioning that she continues to find new layers and meaning in her work. As part of a larger series of other Mirror Pieces, this family of works is used as a tool to confront viewers on the subject of voyeuristic social standards placed upon women in western society.
Performance - Photo documentation in the Guggenheim collection
Organic Honey's Video Telepathy
Jonas's performance-based practice was revolutionized and invigorated in 1970 when - while visiting Japan - she bought her first hand-held video camera. Upon returning home she started to play and experiment with the capabilities and limits of this new portable technology. Using the camera, a TV screen, and a live video feed, she created her first video performance: Organic Honey's Video Telepathy. In this performance, Jonas performs as herself, as well as a masked alter ego double, Organic Honey. Much like a character from a Claude Cahun performance or a Cindy Sherman film still, Honey, dressed in a costume and doll mask, stood for the artists' questioning of fixed identity, narcissism, and womanhood. Mirrors and reflected mirrored images were used on a technical level for spatial layering, as well as on the level of meaning to separate Jonas from Honey, and paradoxically to unite the two together. By using props including robes, fans, and headdresses, a curator at the Dia Art Foundation suggests that Jonas "foregrounds emblems of female identity."
This work marks a cornerstone for Jonas in a long lineage of performances that discuss and question women's issues, body image, and societal demands placed on the female. She comments that this questioning, and indeed the work itself, came about at a time when she was an active part of a women's group; "It had a big effect on my life. The whole [women's liberation] movement did. Our group was small. We had a lot of pent-up anger about the whole situation. [We went in for] self-examination, and for revealing intimate aspects of one's sensibilities. Organic Honey's Visual Telepathy was all about asking the question: what is the feminine? I was concerned with the roles women play". Furthermore, it is interesting that the words "organic" and "telepathy" creep into the title of this work. By using the word "organic" Jonas reveals her love of the earth and desire to nurture and protect its gifts. And by introducing "telepathy", she infers that there is some sort of spiritual and magical faculties at work in her examination of self.
Video Performance - MACAB Collection
Juniper Tree
The Juniper Tree installation was first created in 1976, and has since been recreated in both 1994 and 2018. The work explores Jonas's love of folklore and of fairy tales. The work is her reinterpretation of the tale of the same name taken from the first volume of the Brothers Grimm fairy tales. The story begins with a woman wishing for a child "as red as blood and as white as snow", while standing by the juniper tree where she would eventually be buried. After giving birth to a boy, she dies and her husband re-marries and has a daughter. The step-mother, jealous of the step-son, kills him and serves his remains to his father in a stew. The son is then reincarnated into a bird and gets his revenge on his stop-mother by crushing her with a millstone. Upon the stepmother's death, the son is reborn and reunited with his father and half-sister.
This work became an important transitional work for Jonas, in that she uses paint, the practice of drawing, as well as narrative and text to represent the symbols and motifs in the story. In the process of performing the work, she would make ritualistic and totem-like paintings, working on an installation stage-set filled with props and music. The documentation of this installation would then be added to following recreations, including sound, all serving to further layer and add to the rich narrative, symbolism, and imagery.
Indeed, Jonas is particularly interested in how fairy tales change slightly as they are passed from one generation to the next. She is also interested in the extreme casting of the "good" or "evil" woman. In her performance, Jonas takes on multiple roles, that of the wise woman, the storyteller, and the evil woman, asserting to an audience that life is not easy to define, and human actions not easy to predict. Artist Kiki Smith shares a similar passion for fairytales and often re-envisions the classic: Little Red Riding Hood.
Installation and Performance - Collection of the Tate, United Kingdom
My New Theatre 1: Tap Dancing
Jonas's performative practice developed organically and led her to consider how to make performance works that could still operate while she herself was not present. My New Theatre 1: Tap Dancing presents a film of the feet of a tap and ballet dancer moving through different choreography. The film is shown on a small screen, or projected, at the back of a long wooden rectangular structure, which stands on two sets of wooden legs. The structure is entirely plain on the outside, but inside, as well as the film playing, there is a miniature set placed before the moving image; the set is composed of objects that is some way bare resemblance to the happening on the film. Visually, the works take viewers directly back to iconic artworks made by the Surrealists. The collection of delicately placed curiosities recalls the intimate and magical boxes of Joseph Cornell, and the overall placement of disparate objects side by side, as well as playing with notions of scale, reminds one strongly of the dreamlike visions of Renée Magritte.
In discussion with art critic Robert Ayers, Jonas comments that her theatre boxes are "an extension of the studio. It's as though you are looking into a miniature world. That's the indoor space, and then I also include landscape space". Over time, the artist has built eight of these structures each with its own custom made video and internal small stage set, the latter including objects which mimic props used in Jonas's live performances. This notion of how performance art can exist without the performer is a constant theme at the core of the theatre box works. The new medium challenges the notion of what performance is. In an interview with the Tate, Jonas comments that she felt drawn to video so that her performance work would not simply "disappear" after its execution. Jonas's use of objects, and film, set the groundwork for new methods of documenting performance that would go on to change the medium. It was no longer only photographs that provided evidence of the act and of performative work, but now multi-layered fragments of documentation could be made available. This is not the case for earlier versions of work by the artist, including Mirror Piece I, which can now only be studied through remaining photographs.
Video Sculpture - Artist Collection
Reanimation brings together many of the elements of multi-layered materials and meanings which Jonas has explored throughout her practice. Jonas comments that her interest in layers stems from "the way our brains function. We think of several things at the same time. We see things and think another, we see one picture and there's another picture on top of it. I think in a way my work represents that way of seeing the world - putting things together in order to say something." In this spirit, holding up a mirror to our multi-faceted brain, Reanimation is composed of four video screens that show snowy mountain peaks and other views of Nordic landscape. The screens are situated in a fabricated 'house', in which there are also two benches, a frame with handing mirrored balls, two wooden theatre boxes, fifteen ink drawings, two paintings, a soundtrack, and a voice recording using excerpts from Norwegian novels. Then, as if that was not enough to absorb, Jonas herself performs in the space, wearing masks, robes, and using various props. Ice cubes melt as the artist moves rhythmically around the room wafting sheets of fabric to catch and reflect the light of the mirrored balls.
The artist's experiences whilst travelling in Iceland and Norway have inspired many of the elements of this piece. Travelling has always been a major part of Jonas's practice, with the inclusion of other cultural dance and theatre traditions appearing both in very early works, and in pieces being made today. The artist has lived and worked in many different countries and endeavors to learn from all people. This particular work originally started as a performative demonstration, which was then reworked and added to over a three-year period, becoming equally poetic, as it is political. The piece pays close attention to landscape and to the environment through the lens of human interaction. It celebrates the beauty of glaciers and of nature, but at the same time mournfully highlights that these glaciers are now melting and that disaster will ensue if human beings to not do better. In fitting line with the Northern European chill and aesthetic, the work well deserves the bombastic title of a Gesamtkunstwerk.
Video Installation with Performance - The Museum of Modern Art, New York
Stream or River, Flight or Pattern
Stream or River, Flight or Pattern documents how travel simultaneously functions as a form of research and as a source of inspiration for Jonas. The work features a series of three films showing a montage of diverse settings including Japan, Greece, Morocco, India, Germany, the Netherlands, Norway, Poland, Hungary, and Ireland. The videos reveal snapshots of locations filmed on the move, as well as scenes of Jonas painting with long brushes through the reflection of a mirror. She comments in an interview with the Tate that she "is very inspired by travel, by seeing new things and new places. In Stream or River, Flight or Pattern, I travelled quite a bit during the year that I was making that. In all the places I had my camera, and I would record things that interested me. Not just anything, but I was interested in birds for instance, and trees and rituals, that are in the video. That's how I stay inspired."
This work uses the elaborate language built over the years of a long career, using mirrors and reflections, drawing without looking (paying homage to the Surrealist technique of automatism), assessing the very nature of performance itself and in turn how to document such, and all the while staying focused on the pinnacle importance of one's surrounding environment. Jonas explores different cultures, embraces ritual, and adds fairy tales to her travelling performance. Her paintings are made within the work while utterly immersed in nature, for example travelling to bird sanctuaries and redwood forests to find idyllic locations. Two curators who worked closely alongside Jonas during the course of the major Tate retrospective have commented, "Joan is always moving back and forth and remaking, rearranging, so there's this live culture that's inherent to how she thinks." In a social and political climate where global warming and immigration are hot topics, this work explores Jonas as a citizen of the world and her positive, thoughtful impact upon it.
Biography of Joan Jonas
Joan Amerman Edwards was born in New York in 1936. Her parents divorced when she was young, and she spent most of her childhood living between Manhattan and Long Island. Jonas has said that she knew that she wanted to become an artist from around age six and that this ambition was highly encouraged by her surrounding artistic family, especially by her father who was an aspiring writer. Her mother was an avid collector of curiosities and often took the young Jonas to art galleries and to the opera. Jonas's aunt was a painter, and her stepfather a jazz musician and a magician.
In 1958 Jonas received a BA from Mount Holyoke College in Massachusetts, majoring in Art History and Sculpture. In 1965 she received an MFA from Colombia University. Throughout her studies, she taught art to children in nearby workshops, as well as in various schools in the Boston and New York area. In 1959, she married Gerald Jonas and the couple spent much of their time travelling in Europe, Canada, Japan, and touring the United States. The marriage lasted for five years, and since this separation Jonas has never remarried. During the mid-1960s, the aspiring young artist saw many inspirational performances from New York-based artists, dancers, and filmmakers; she was totally immersed in the art scene of the time and began to make her own "pieces". She was reluctant to call her work "performance" until later. At this time, she destroyed all of the sculptures that she had made previously, and began to study dance with the choreographer Trisha Brown. As a dancer, she also worked with the choreographers Yvonne Rainer and Steve Paxton.
Jonas was a central figure in the Performance movement of the mid-1960s, with works that merged elements of dance, theater, and different cultural props and influences gleaned from her extensive travels. She carved a space for herself examining identity and pushing boundaries: social, personal, and political. In 1971, she collaborated with Richard Serra on a nine-minute black and white film called Paul Revere. This was "a didactic work inspired by the structure of educational films using instructional cards". Jonas bought her first video camera in 1972 while she was traveling in Japan, again with Richard Serra, and shortly afterwards began making her own films and recording "performances". Indeed, the "piece" had organically grown to become the "performance" by this time. By experimenting with different characters and alter egos, in the spirit of Surrealism, Jonas examined the theme of identity always beginning with the artist herself. Organic Honey's Virtual Telepathy, a self-reflective study of female identity, was a groundbreaking work during this early period.
Jonas's work made throughout the 1970s was performed to some of the most influential artists of her generation, including Richard Serra, Robert Smithson, Dan Graham, and Laurie Anderson. These artists were not only Jonas's friends and colleagues, but they were also fellow pioneers dedicated to pushing art forward. Interestingly, despite being a key figure within small artistic circles, during this time Jonas's work became more widely known in Europe than it did in the United States. Jonas herself has said that the 1980s, a decade all about money, was a bad time for her work and that the 1990s brought something of a new and revived vigour. Critic Douglas Crimp wrote in 1983 that her works made before the 1990s were generally "repressed, smoothed over". Indeed, Jonas's works remained relatively undiscovered while of the influence and visibility of Pop Art and Minimalism grew from strength to strength in her hometown, New York City. It wasn't until later in her career that her video performances gained recognition.
In the 1990s, Jonas's My New Theater series moved away from a dependence on her own body as the starting point and center of all of her artworks. Her initial three pieces made in this new, invented medium investigated a Cape Breton dancer and her local culture. The next series focused on a dog jumping through hoops, while Jonas drew a landscape in the foreground. In another series, also presented as a video encased inside a wooden box and fronted with objects, Jonas made a video about the act of performing and included actual stones and costumes. At this time, the artist also began to restage earlier works from her career, always adding new layers of meaning and questioning gender identity in a way that she had by this point been doing for almost 30 years.
Since 2000, Jonas has taught at the Massachusetts Institute of Technology, Cambridge, MA. In 2004, she was honored with a retrospective at the Queens Museum of Art in New York, titled Joan Jonas: Five Works; and in 2009, was awarded the Guggenheim's first annual Lifetime Achievement Award. Jonas has continued to make new video performance works, looking at fairy tales, folklore, and our relationship with nature. Many of these works depict her own dogs, appearing in her films Dog Dance (2002/2005), Beautiful Dog (2014), and Stream or Rive - Flight or Pattern (2016-2017). Jonas explains in an interview with Tate that her dogs' appearances in her work are usually spontaneous, with them running into the scene of the performance and nudging her to play; "My dog is a character. She is a comedian and a natural performer. I never ask her; she just gravitates towards the action. It's very strange; she somehow knows what to do".
In 2015 Jonas represented the United States in the 56th Venice Biennale. Her installation for the five galleries of the United States Pavilion, They Come to Us without a Word, was commissioned by the MIT List Visual Arts Centre. She also created a new video performance, with music by Jason Moran, They Come to Us without a Word II in conjunction with other installations at the Biennale. For the first time, children were the performers of a Jonas work; they each wore white paper hats or papier-mâché masks. They played a game of tug of war with a stick, or stood in front of screen with projected imagery of honeycombs and horses. When being interviewed at the Biennale, Jonas said that the children were "friends of mine. I set up a series of workshops on Saturday afternoons, but I had to have it completely organized so that they could step into something with instructions. They of course bring their own aura into the piece. I don't give them a lot of direction - I only gave them tasks. Really I like just them as they are". Indeed, the artist has been inspired and has worked with children since the very beginning of her career.
In 2018, the Tate Modern hosted a large exhibition of Jonas's works featuring performances, displays of her props and costumes, and video and installation works. Works shown ranged from early low-fi films from the '60s to recent installations dealing with climate change and issues of animal extinction. In an interview with Tate Jonas comments, "the installations we've been working on over the last two years, getting it all together. Then the performances, I've done big shows like this and then had performances later on after the opening; I've never done a show with four performances."
The Legacy of Joan Jonas
Joan Jonas is a prolific artist, who has greatly influenced the generation of performance artists to follow. She developed her own particularly fluid language and style of working, and furthermore revolutionized the practice by incorporating video and single circuit video loops into her work. Her interest in world travel, different cultures, societal roles, the behaviours of children and animals, and in the environment were in the 1960s and still today remain the most significant of themes. Jonas has influenced both Marina Abramovic and Pipilotti Rist, who share the older artist's long-standing interest in gender and sexuality. Richard Serra too credits Jonas for great involvement in the evolution of his artistic practice.
Indeed, Jonas acts as a major influence for contemporary artists working in the realms of performance and video across the globe. Ian White - whose work examines personal relationships, choreography, and theatre - is heavily inspired by Jonas. White had an exhibition in 2018 at the Camden Arts Centre, where he presented his series all about the 'absence of the performer'. Much like Jonas's My New Theater works, White sought to explore the ephemeral nature of life without the need for the artist performer to be present.
Most importantly, as a statement of Jonas's important legacy, her recent Tate exhibition was the first performance-related retrospective to be held at this major institution. It is difficult to present to audiences an art that at its very core endeavors to shows life in motion, and asserts the idea that all is transient and forever changing.
Jason Moran
Useful Resources on Joan Jonas
By Haus de Kunst
Joan Jonas: I Want to Live in the Country (and Other Romances)
By Susan Morgan
Joan Jonas: In the Shadow a shadow. The Work of Joan Jonas
By by J. Simon, J. Burton, B, Clausen, and D. Crimp
Joan Jonas is on Our Mind
By Frances Richard
Joan Jonas - They Come To Us Without A Word
By U.M. Bauer, A. Reynolds, M. Warner, P. Ha.
Joan Jonas: Performances Film Installations 1968-2000
By Johann-Karl Schmidt
By M. Warner, A. Daneri, and A. Ratti
PAJ (May 2014) - Performance Drawings (PAJ: A Journal of Performance and Art)
By B. Marranca, M. O'Hara, T. Orrici, and J. Bokaer
written by artist
Perform (Artworks)
By Jes Hoffmann and Joan Jonas
By Joan Jonas
Joan Jonas: Timelines - Transparencies in a Dark Room
Joan Jonas: The Shape, The Scent, the Feel of Things
View more books
Five Things to Know: Joan Jonas
Written by The Tate / 2018
Exhibition Outline at The Tate / 2018
Joan Jonas Is Taking Over Tate Modern With a Headline Performance
Written by Naomi Rea / March 14th 2018
Mirror mirror; Joan Jonas on the fairytales that have cast a spell over her 50 year career
Written by The Guardian / March 22nd 2018
Written by R.H Quayman / December 10th, 2014
Joan Jonas: ReanimationOur Pick
Trailer. Directed by Michael Blackwood
Video Interview with Tate Shots about her 2018 ExhibitionOur Pick
BMW Tate Life Performance of and a livestreamed Q&A
Louisiana Channel Interview "Advice to the Young"
Art21 Interview with Jonas on her early performancesOur Pick
archived video performances
Two Archived Videos of Art21 Interviews with Jonas discussing her performances and studios
Electronic Arts Intermix catalogue of archived video performances
Draw without Looking performance 2013
Joan Jonas "Instruction" Performance
Reanimation Performance 2014
Layers of Time Performance
View more resources
Hannah Wilke
Content compiled and written by Marley Treloar
Edited and revised, with Summary and Accomplishments added by Rebecca Baillie
"Joan Jonas Artist Overview and Analysis". [Internet]. . TheArtStory.org
First published on 05 Oct 2018. Updated and modified regularly


text:
GOST 28147-89 é um cifrador em bloco de chave simétrica padronizado pelos governos Russo e Soviético. Desenvolvido nos anos 70, o padrão era marcado com "Ultra-Secreto" e então foi rebaixado a "Secreto" em 1990. Logo após a dissolução da URSS, o GOST 28147 foi desclassificado e mostrado publicamente em 1994. O GOST 28147 foi uma alternativa Soviética ao algoritmo padrão americano, o Data Encryption Standard. Por isso ambos são muito similares na estrutura.

Criptografia

redpajama_set_name: RedPajamaWikipedia


text:
Q: Trying to scrape - no response from XHR I'm trying to scrape http://www.3m.com/3M/en_US/privacy-screen-protectors-us/support/productfinder/ just as a beginning project for me to get my scraping skills up. Was going to use BeautifulSoup/Python to do the job.
When you select a Model (you have to select a Manufacturer first), a request is sent to http://selector.3m.net/_frameurl.php?cid=437&furl=http%253A%2F%2Fselector.3m.net%2Fen_US%2Fi%2Fus.solutions.3m.com , but the Response returned is empty (This request has no response request available).
I'm curious to know more about how/why this happens, for the sake of learning, but obviously I also want to know how to get around it within Python (not using something like Selenium if possible).
CHEERS
EDIT: Presumably it has something to do with the fact that 3M are using an iframe to load their content in

redpajama_set_name: RedPajamaStackExchange


In this article, associate NIR network administrator Cassy Streeter from Dairy One explains how NIR analysis has helped reduce turnaround time on lab results. In a time where customers' are increasingly demanding less expensive analyses and a broader variety of parameters and feed types, NIR is helping to increase business potential.
One of the keys to the success of Dairy One as a leader in the forage analysis industry has been turnaround time. The speed at which forage and feeds are utilized in rations is dependent upon how fast results can find their way into the hands of customers. Producers are unable to negotiate the sale of their crops until they know the quality of the product they are selling. Nutritionists cannot formulate rations without first knowing the composition of the individual feeds to be utilized. Turnaround time is so important that it came a close second to accuracy when Dairy One customers were polled on the most important factors of forage analysis. Fortunately, near infrared reflectance (NIR) technology has provided Dairy One with an invaluable tool that provides accurate results with minimal turnaround time.
Traditional wet chemistry has been the standard for forage analysis since its inception. However, a typical forage/feed sample requesting a full analysis panel could take up to a week to complete. In addition to the poor turnaround time, some wet chemistry analyses require the use of hazardous chemicals that require careful handling, storage and disposal.
In order to avoid the pitfalls of wet chemistry analysis, Dairy One began developing NIR calibrations for a core set of parameters including moisture, crude protein and fibers in the early 1980s to cover a small range of forage types. This core set continued to expand over the years to include a majority of the wet chemistry analyses offered by Dairy One such as fat, ash, starch and macro minerals.
Today, the forage sample that used to take up to a week to analyze could be received in the morning and the customer would have results for more than twenty nutrients by that afternoon. This reduction in turnaround time helped drive customer demand for NIR services and prompted a move towards adding more parameters and feed types.
With feed prices on the rise, customers started looking for more low cost feed alternatives and, in turn, less expensive feed analysis. More and more feed mills began taking in shipments of commodities and, with those shipments, rapid analysis was needed. Based on the success of the calibrations for common forages, Dairy One started looking into developing calibrations for commodities. In January 2013, Dairy One released its new Commodity NIR package which includes moisture, crude protein, soluble protein, fibers, fat, ash and macro minerals for products as diverse as beet pulp, corn gluten meal and soybeans.
Another advantage that sprang from NIR services is its utilization by research groups. Institutions carrying out large scale testing on new crops could now submit several hundred samples at once and receive their results in a fraction of the time (and a fraction of the price) it would take to do the analyses by traditional wet chemistry. Consistency was also improved since different batches of samples were not analyzed with different batches of chemicals. The same calibration, based on thousands of samples over a large span of time, could be used for all of the samples.
Wet chemistry will always be a necessary component of forage analysis, especially as new commodities and feed sources are utilized, but the value of NIR cannot be understated. Customer demand for rapid and reliable forage and feed analysis helped drive the development of Dairy One's robust stable of NIR calibrations. Dairy One is confident that industry demands will continue to be met as these calibrations expand and adapt in the coming years.


text:
Q: Remove X-Powered-By: PHP on IIS7 We have a Win2008 server running IIS7 and php 5.3.17 installed.
For pentesting & other security purposes we would like to remove the header response: "X-Powered-By: PHP/5.3.17", so we've tried turn Off the "expose_php" option in the c:\php\php.ini file, and also installed the UrlScan 3.1 with its corresponding "RemoveServerHeader = 1" but this last urlscan appears to be only for IIS headers, also we modified web.config file with the below directive:
<system.webServer>
       <httpProtocol>
           <customHeaders>
               <remove name="X-Powered-By" />
           </customHeaders>
       </httpProtocol>
   </system.webServer>

Neither one of the solutions mentioned worked.
So, my big question is what else we can modify to remove this php header from the IIS server? It is quite annoying issue, because on other similar (win2008, IIS7, PHP5) server we just modified the php.ini file and it works fine!!!
We would really appreciate your comments and help, thanks in advance.

A: You need to set expose_php=off in the PHP configuration.
See https://stackoverflow.com/questions/2661799/removing-x-powered-by

A: Try setting the
  HKLM\SYSTEM\CurrentControlSet\Services\HTTP\Parameters\DisableServerHeader

registry entry to a REG_DWORD of 1.


Coral gardening is on the horizon in the Whitsundays. The initiative has been put forward as a solution to help inshore reefs recover that have been damaged by cyclones that have disrupted the Whitsundays. Inshore reefs often bear the brunt of waves and unpredictable tides that accompany such weather patterns.
A herbivore is a animal that feeds only on plants. They are not predatory nor do they hunt other animals, but instead survive of nutrients provided by plants only. And they are helping the reef big time.
The Great Barrier Reef is the largest living ecosystem in the world. It has been around for many millennia and is continually growing and changing. It is a network that spans across 2,600km and is made up of corals, sea grass, islands, and cays that make up the entirety of the Great Barrier Reef Marine Park. It is said that the reef dates back as much as twenty million years ago, with an ever changing landscape and coastline. It has moved and morphed over the years and was first encountered by humans 40,000 years ago when Aboriginal and Torres Strait Islander peoples settled in the area. The current reef is about 6,000 to 8,000 years old and was formed after the last ice age began to recede and water levels and temperatures rapidly changed.
What are artificial clouds and how can it help the reef?
Global warming is a world-wide issue. One that affects the world in many ways, including the warming of our oceans and the changing of our ecosystems. The Great Barrier Reef is one such ecosystem.
The crown-of-thorns starfish has long since been a problem for the Great Barrier Reef, and has posed a problem for marine biologists and conservationists for many years.
As the cold weather rolls into Airlie Beach and the Whitsundays, so too do the whales! Every year during the winter season, thousands of humpback whales migrate to the Whitsundays to nurse their babies and enjoy the warm waters of the coral sea. It brings a time of joy to locals and tourists alike, who get to see these amazing animals up close and in their natural environment.
In the wake of the category 4 Cyclone Debbie, it is hard to see the bright side of such a huge weather phenomenon. However, in terms of coral bleaching, there may be a silver lining to the the storm that hit the Whitsundays on 28 March 2017.
When is turtle season in the Whitsundays?
It is always turtle season in the Whitsundays! Turtles live in the Whitsundays all year long, breeding, eating, living and laying their eggs in the sands around the islands. If you're lucky, you will spot one while you're out snorkelling or cruising along on a boat, as they are never far away from the trained eye!
Whale sharks are one of the biggest animals in the ocean, and definitely the biggest fish trolling waters worldwide.
The Great Barrier Reef is a major contributor to biodiversity and overall health to the world's oceans. It is said to be one of the most diverse ecosystems in the world and contributes to the planet in more ways than most people know.


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text:
Dean Miller | Lead Stories
Lead Stories Managing Editor Dean Miller has edited daily and weekly newspapers, worked as a reporter for more than a decade and is co-author of two non-fiction books. After a Harvard Nieman Fellowship, he served as Director of Stony Brook University's Center for News Literacy for six years, then as Senior Vice President/Content at Connecticut Public Broadcasting. Most recently, he wrote the twice-weekly "Save the Free Press" column for The Seattle Times.


text:
22nd in Organisational
2nd in Financial
7th in Staffing
Change of legal status of universities, leading to lifting of restrictions concerning surpluses and borrowing
Establishment of a new national quality assurance agency in July 2015 and development of study field accreditation
Restrictions set up by the State on salaries of administrative staff
Universities must follow a series of regulations regarding their governance – an external authority confirms both the appointment and dismissal of the executive head, whose selection criteria are set in law. A maximum term of office is also prescribed. Universities are not permitted to include external members in their governing bodies. They can decide on their academic structures and create legal entities.
Financial autonomy: high
Internal allocation of funds received from the annual block grant is now up to the universities, and there is greater freedom to borrow funds and keep surpluses. Public universities may also own real estate, and now sell previously state-owned buildings with permission. Universities are able to decide on tuition fees for those students who do not have state-funded study places.
Universities decide on fee-paying student numbers. They co-regulate admission criteria at Bachelor level and are in control of admissions at Master level. There are multiple levels of accreditation, limitations on language of instruction, and constraints on the development of the content of the academic programmes.
Staffing autonomy: high
Universities can recruit and set salaries for their senior academic and administrative staff; however, minimum salaries are set by the state for academic staff and restrictions have been implemented nationally for administrative staff. Dismissals are subject to regular labour law and universities can promote senior administrative staff freely. Promotions for academic staff are constrained by the mandatory periodical re-opening of academic positions.
0% Selection procedure for the executive head
The selection of the executive head is validated by an external authority
This applies to 11 other countries: Brandenburg, Hungary, Iceland, Italy, Luxembourg, The Netherlands, North Rhine-Westphalia, Slovakia, Spain, Sweden, Switzerland
This applies to 13 other countries: Croatia, Denmark, Estonia, Flanders, France, Hungary, Italy, Luxembourg, Poland, Portugal, Serbia, Spain, Sweden
40% Dismissal of the executive head
The dismissal is confirmed by an external authority and the procedure is stated in the law
This applies to 5 other countries: Brandenburg, Iceland, Luxembourg, Slovakia, Spain
60% Term of office of the executive head
The maximum or range of length is stated in the law
This applies to 2 other countries: Finland, Hungary,
Universities cannot decide as they cannot include external members
This applies to 2 other countries: Brandenburg, Poland
100% Capacity to decide on academic structures
Universities can decide on their academic structures without constraints
This applies to 19 other countries: Austria, Brandenburg, Denmark, Estonia, Finland, Flanders, Wallonia, Hesse, Hungary, Lithuania, The Netherlands, North Rhine-Westphalia, Norway, Poland, Portugal, Spain, Sweden, Switzerland, United Kingdom
60% Capacity to create legal entities
This applies to 7 other countries: Denmark, Iceland, Ireland, Poland, Portugal, Slovakia, Sweden
This applies to 25 other countries: Croatia, Denmark, Estonia, Finland, Flanders, France, Wallonia, Hesse, Hungary, Iceland, Ireland, Italy, Lithuania, The Netherlands, North Rhine-Westphalia, Norway, Poland, Portugal, Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, United Kingdom
100% Type of public funding
Block grant and there are no restrictions on the allocation of funding
This applies to 15 other countries: Brandenburg, Denmark, Estonia, Finland, Flanders, Hesse, Iceland, Italy, Luxembourg, The Netherlands, North Rhine-Westphalia, Norway, Spain, Switzerland, United Kingdom
100% Ability to borrow money
Universities can borrow money without restrictions
This applies to 7 other countries: Austria, Denmark, Estonia, Finland, Flanders, Wallonia, The Netherlands
100% Ability to keep surplus
Surplus can be kept without restrictions
This applies to 15 other countries: Austria, Croatia, Denmark, Estonia, Finland, France, Hesse, Italy, The Netherlands, North Rhine-Westphalia, Slovakia, Slovenia, Spain, Switzerland, United Kingdom
60% Ability to own buildings
Universities can sell their buildings with other types of restrictions
This applies to 4 other countries: Finland, Flanders, Ireland, Poland
This applies to 3 other countries: Lithuania, Luxembourg, Serbia
This applies to 6 other countries: Ireland, Lithuania, Luxembourg, Portugal, Serbia, United Kingdom
This applies to 8 other countries: Croatia, Ireland, Lithuania, Luxembourg, The Netherlands, Portugal, Serbia, United Kingdom
This applies to 13 other countries: Croatia, Estonia, Flanders, Hungary, Ireland, Lithuania, Luxembourg, The Netherlands, Portugal, Serbia, Slovakia, Sweden, United Kingdom
This applies to 11 other countries: Croatia, Estonia, Flanders, Ireland, Lithuania, Luxembourg, The Netherlands, Portugal, Serbia, Slovakia, United Kingdom
75% Recruitment procedures for senior academic staff
This applies to 14 other countries: Austria, Brandenburg, France, Wallonia, Hesse, Hungary, Ireland, Lithuania, North Rhine-Westphalia, Poland, Portugal, Slovenia, Spain, Sweden
100% Recruitment procedures for senior administrative staff
This applies to 20 other countries: Austria, Brandenburg, Estonia, Finland, Flanders, Wallonia, Hesse, Hungary, Iceland, Lithuania, Luxembourg, The Netherlands, North Rhine-Westphalia, Norway, Poland, Slovakia, Slovenia, Sweden, Switzerland, United Kingdom
100% Salaries for senior academic staff
Universities can freely decide on staff salaries
This applies to 4 other countries: Estonia, Luxembourg, Sweden, Switzerland
This applies to 4 other countries: Flanders, Hungary, Ireland, Poland
100% Dismissal of senior academic staff
This applies to 8 other countries: Denmark, Estonia, Finland, Lithuania, Luxembourg, Sweden, Switzerland, United Kingdom
This applies to 11 other countries: Denmark, Estonia, Finland, Wallonia, Lithuania, Luxembourg, Poland, Serbia, Sweden, Switzerland, United Kingdom
This applies to 7 other countries: Brandenburg, Croatia, Wallonia, Lithuania, Luxembourg, Portugal, Serbia
100% Promotion procedures for senior administrative staff
Universities can freely decide on promotion procedures
This applies to 13 other countries: Austria, Estonia, Finland, Flanders, Iceland, Luxembourg, The Netherlands, Norway, Poland, Slovakia, Sweden, Switzerland, United Kingdom
Universities decide on the number of fee-paying students while an external authority sets the number of state-funded study places
This applies to 3 other countries: Croatia, Hungary, Lithuania
This applies to 11 other countries: Brandenburg, Croatia, Denmark, Hesse, The Netherlands, North Rhine-Westphalia, Norway, Portugal, Serbia, Spain, Sweden
This applies to 18 other countries: Brandenburg, Estonia, Finland, France, Hesse, Iceland, Ireland, Italy, Lithuania, Luxembourg, North Rhine-Westphalia, Norway, Poland, Portugal, Serbia, Slovakia, Spain, United Kingdom
40% Introduction of programmes at Bachelor level
This applies to 9 other countries: Austria, Brandenburg, Denmark, Estonia, Finland, Flanders, Hesse, Iceland, Sweden
40% Introduction of programmes at Master's level
40% Introduction of programmes at doctoral level
This applies to 7 other countries: Austria, Estonia, Finland, Flanders, Iceland, Poland, Sweden
This applies to 25 other countries: Croatia, Denmark, Estonia, Flanders, France, Wallonia, Hesse, Hungary, Iceland, Ireland, Italy, Lithuania, Luxembourg, The Netherlands, North Rhine-Westphalia, Norway, Poland, Portugal, Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, United Kingdom
The number of degree programmes/courses taught in a foreign language is limited by an external authority
This applies to one other country: Flanders
This applies to 2 other countries: Croatia, Serbia
This applies to 25 other countries: Austria, Croatia, Denmark, Estonia, Finland, Flanders, France, Wallonia, Hungary, Iceland, Ireland, Italy, Lithuania, Luxembourg, The Netherlands, Norway, Poland, Portugal, Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, United Kingdom
This applies to 20 other countries: Croatia, Denmark, Flanders, France, Wallonia, Iceland, Ireland, Italy, Lithuania, Luxembourg, The Netherlands, Norway, Poland, Portugal, Serbia, Slovakia, Slovenia, Spain, Sweden, United Kingdom
60% Capacity to design content of degree programmes
Authorities specify some content of academic courses
This applies to 2 other countries: Italy, Lithuania


Yesterday I talked about how great the NaNoWriMo Forums have been to me. And today's post has once again been inspired there.
I admit, I fully understand this fear. I was definitely someone who was scared of being scooped, so to speak, back when I first began writing. Scared that someone would tell my story first and all of a sudden I wouldn't be able to do anything with my baby since it was already out there. And that is the reason finding out something you've written seems dangerously close to something already published is devastating. It isn't so much the idea that people are going to sue you for plagiarism (which they couldn't do, since it is not possible "accidentally" plagiarize someone) it's that the idea that has been so precious to you, that you've been working with, tweaking, rewriting, and polishing isn't as unique and special as you thought it was.
In a recent interview I did, I was asked for the top five things I'd tell aspiring novelists. For Number Five, I said, "Trust People." The longer you write, spend time with writers, or deal with anything in publishing, the more you realize that nothing is truly original. Something can be an interesting idea that hasn't been overdone, but if you can't find one part of your book that is like any one of the millions of books out there, you more than likely just haven't looked around enough. Furthermore, even if two people came up with the same idea right now, the actual writing would be nothing alike. It's why you don't get thirty of the same story in a creative writing class when everyone is given the same prompt.
It's no fun when you have someone accusing you of taking someone else's ideas. It's no fun when you find out that your amazing idea isn't quite as original as you thought it was. But ideas are only one very small part of what makes a good novel good. The writing, the characters, the actual plot…they are all more important than the premise.
So keep writing, trust others, and trust yourself. Your novel is going to be good or bad based on what you do. There are always going to be other people who come up with something that seems eerily similar to your book, but that doesn't mean yours is any less (or any more) worth reading. Just keep writing, and see what you end up with.
Great post, and so true! I have trouble trying to convey this very issue to other writer friends of mine.
This is all so true. I freaked out recently because a new YA book has a title similar to mine, and the two main characters have the same names. I am honestly still a little gutted, but I hope that is where the similarities end. You're right, of course. It's the journey the story takes you on that matters.


How do I download emailed pictures?
When you receive an email with attached photos they will show as little thumbnails in the email message. You can view them by clicking on the pictures. You can save the photos by downloading them to your computer.
How to download photos from email?
The procedure is quite similar for all the email clients or services. Let's take a look at several.
If you are using Gmail for your email and you are using the Google Chrome browser, you will see the picture thumbnails as shown in this illustration.
Above and to the right of the photos there are three links. the one with the down pointing arrow is the download tool. If there are several pictures they will be downloaded as a compressed "ZIP" file.
Click the Download all attachments icon with the downward arrow. You will get a dialog where you can specify the folder for the downloaded file.
The download dialog will look similar to the illustration above. You can select any folder, even your Desktop and you can change the name of the file that contains the pictures. Click Save when you have specified the folder and file name.
If you are using Yahoo and get to your email in a browser it will look similar to the picture here.
Above the thumbnails you will see a Download all link. Click the link. If you do not get a dialog for setting the destination folder, the compressed file with the pictures will be in your Downloads folder.
Below the thumbnails there is a Download all as zip link. Click it and you will get a dialog for selecting the destination folder and file name.
If you are using the Mail app in Windows 10 you will see thumbnails in the email message. Click on each photo. You will get a Save option. Click Save and you will get another dialog for specifying the destination.
Once the pictures have been downloaded find the compressed file either in your Downloads folder or the folder you picked.
Right-click the compressed file name or icon, it will look like a folder with a zipper. In the drop-down menu click Extract All… You will get a dialog with destination options, pick the folder where the photos go.


Color splash is not always fun.
Color Burst™ is a selective desaturation utility for iPhone. Though the idea at the core of Smart Solution's app is the same as the one of almost all other color splash apps in the App Store — how many of them are there, by the way? –, Color Burst™ has some significant flaw that makes it not enjoyable and user-friendly.
Color Burst™ allows applying color splashing on photos from your iPhone. From the main screen, you load your photo to the edit panel and select one among the three available painting modes (Color, Hue or Gray): Gray desaturates areas of your image you select by finger painting over them, while Color brings the original colors back.
Other than these two methods, you can choose Hue, which lets you apply a new hue to your photo. It looks like right now you only have three basic hues to choose from: red, green and blue. This is so silly that it is almost surreal; at any rate, I couldn't find a color picker or any other way to select any other hue other than these three.
Using a special button, you can invert colored and black and white areas with one tap. If you make mistakes, you can undo. For more control, you can pan and zoom and, from the main screen, you can reset your image's position by placing it back at the center of the edit panel. In border mode, you enable a mask preview for a better idea of what areas you are affecting while painting.
With no doubt, Color Burst™ has some serious issues. Compared to other selective desaturation apps we have reviewed (like, for example, Colorize and ColorSplash, both easy and fun to use), Color Burst™ is probably the less intuitive, stable and flexible. UI and features are elementary, tools available are few, adjustments you can make are very limited. Using this app feels so awkward, especially finger painting doesn't feel comfortable and accurate enough on larger images and without the ability to freely resize your brush. The lack of tips or in-app manual doesn't help, especially if you have not tried other similar apps before. Since I have tried Color Burst™ on 3GS only, I cannot say how much better it can get on iPhone 4. Anyhow, in my experience, this app is also crash prone. Considering you cannot restore from previous sessions, it's not unlikely you'll have to start over if anything happens while editing.
As I see it, Color Burst™ is definitely not even remotely the best option if you simply want to add, change or remove color selectively from your images.
Color Burst™ is currently on sale: you can download it for free for a limited time.
Next post: Bleach Bypass Free!


Offering 19 m/l acres of commercial development ground located in Indianola, Iowa. The property is conveniently situated on the east side of Indianola along Highway 92 with quick access to Highway 65/69. Property is currently zoned C-2 with utility infrastructure readily available to the site. Future land use plans call for low density residential and highway commercial in the general area. Indianola is currently in the process of updating the city land use plans.
There is a 12-inch water main that runs along the northern edge of the property. Single phase electrical is available in front of the existing house and three-phase is available from the northeast corner of the property. Additional underground primary cable and transformers would need to be added at the customer's expense. A 8 inch sanitary line runs along Highway 92 on the northern edge of the property and is set in 24 ft. to 27 ft. deep. The land includes 17.05 FSA tillable acres carrying a CSR2 of 81.7. Contact agent for additional infrastructure maps.
The East Half (E 1/2) of the Northeast Quarter (NE 1/4) of the Southwest Quarter (SW 1/4) EX HWY, of Section 29 Township 76 North Range 23 West of the 5th P.M. in Warren County, Iowa. Exact legal will be taken from the abstract.
From the Highway 92 and Highway 65/69 intersection in Indianola, go East on Highway 92 for approximately 1.35 miles. The property is situated on the South side of the road.


text:
Browsing the topic: D.C. Gay Flag Football League
DC Allen and Ken Flick: Partners in life, business and LGBT community growth
June 8, 2017 at 4:12 pm EST | by
PHOTOS: Gay Bowl XVI
October 12, 2016 at 2:31 pm EST | by
Washington Blade photography department
QUEERY: Chris Cormier
August 17, 2016 at 4:44 pm EST | by
Joey DiGuglielmo
PHOTOS: Shirts & Skins
Michael Key
PHOTOS: 2016 Capital Pride Parade
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Gay footballers volunteer for non-profits
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YEAR IN REVIEW 2015: Sports (Victories at home and abroad)
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D.C. Gay Flag Football toasts season finale
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Damien Salas


Adobe Document Cloud eSign Services® for Salesforce® must be installed and configured in your target environment.
The Adobe Document Cloud eSign Contract solution provides a way to send a simple contract to a single recipient for electronic signature. It merges data from an Opportunity, as well as its related Opportunity Line Items, into a Word® document that is converted to a PDF file upon merging. The contract template includes sample payment terms and terms and conditions that can be easily replaced with language specific to your organization. The default recipient is the Opportunity's Primary Contact, but the contract can be sent to anyone.
The Adobe Document Cloud eSign Quote solution provides a way to send a basic quote to a single recipient for electronic signature. It merges data from an Opportunity, as well as its related Opportunity Line Items, into a Word document that is converted to a PDF file upon merging. The default recipient is the Opportunity's Primary Contact, but the quote can be sent to anyone.


On behalf of Katie L. Lewis of Katie L. Lewis, P.C. Family Law posted in Divorce on Monday, November 26, 2018.
Ending a marriage is an emotional process. Even when a couple believes that their marriage will stand the test of time, some marriage end much sooner than expected. Divorcing with a young child is also problematic, as this often means that the marriage has gone sour and spouses are in conflict. No matter the reason for the divorce filing, it is important that couples in Texas and elsewhere understand the process and how their decisions not only impact themselves but also their children as well.
According to recent reports, reality television star Audrina Patridge and estranged husband Corey Bohan has agreed to participate in mediation, as they get closer to finalizing their divorce. Mediation is set to occur in January, and the two agreed to participate in mediation in order to resolve all remaining and unresolved issues.
The couple has a 2-year-old daughter, and the two recently agreed to slightly revise their current custody order. Based on reports, the mother maintains sole legal custody and sole physical custody of their daughter. The parenting schedule was modified to add more visitation time for the father. It was also modified to add visitation hours with the paternal grandparents during the holidays. As of now, Bohan gets visitation three days a week.
The order also dictates that neither party is allowed to travel outside of the U.S., the state of California, Orange County or Los Angeles County without prior written permission from the other parent. Additionally, neither party is allowed to contact the other party or make and derogatory comments about the other party in any way. Beyond their brief and peaceful exchanges of their daughter, the two shall remain at least 100 yards from each other.
Divorce can be a complex matter, requiring many factors and stipulations to consider. Even in a high conflict divorce, it is possible to sort through the issues and reach agreeable terms. Those considering or going through a divorce should ensure they are well informed for their rights and options, as this can ease a very emotional and challenging process.


text:
This project is a [Maven Wagon][wagon] for [Amazon S3][s3].  In order to to publish artifacts to an S3 bucket, the user (as identified by their access key) must be listed as an owner on the bucket.

## Usage
To publish Maven artifacts to S3 a build extension must be defined in a project's `pom.xml`.  The latest version of the wagon can be found on the [`aws-maven`][aws-maven] page in Maven Central.

```xml
<project>
  ...
  <build>
    ...
    <extensions>
      ...
      <extension>
        <groupId>org.springframework.build</groupId>
        <artifactId>aws-maven</artifactId>
        <version>5.0.0.RELEASE</version>
      </extension>
      ...
    </extensions>
    ...
  </build>
  ...
</project>
```

Once the build extension is configured distribution management repositories can be defined in the `pom.xml` with an `s3://` scheme.

```xml
<project>
  ...
  <distributionManagement>
    <repository>
      <id>aws-release</id>
      <name>AWS Release Repository</name>
      <url>s3://<BUCKET>/release</url>
    </repository>
    <snapshotRepository>
      <id>aws-snapshot</id>
      <name>AWS Snapshot Repository</name>
      <url>s3://<BUCKET>/snapshot</url>
    </snapshotRepository>
  </distributionManagement>
  ...
</project>
```

Finally the `~/.m2/settings.xml` must be updated to include access and secret keys for the account. The access key should be used to populate the `username` element, and the secret access key should be used to populate the `password` element.

```xml
<settings>
  ...
  <servers>
    ...
    <server>
      <id>aws-release</id>
      <username>0123456789ABCDEFGHIJ</username>
      <password>0123456789abcdefghijklmnopqrstuvwxyzABCD</password>
    </server>
    <server>
      <id>aws-snapshot</id>
      <username>0123456789ABCDEFGHIJ</username>
      <password>0123456789abcdefghijklmnopqrstuvwxyzABCD</password>
    </server>
    ...
  </servers>
  ...
</settings>
```

Alternatively, the access and secret keys for the account can be provided using

* `AWS_ACCESS_KEY_ID` (or `AWS_ACCESS_KEY`) and `AWS_SECRET_KEY` (or `AWS_SECRET_ACCESS_KEY`) [environment variables][env-var]
* `aws.accessKeyId` and `aws.secretKey` [system properties][sys-prop]
* The Amazon EC2 [Instance Metadata Service][instance-metadata]

## Making Artifacts Public
This wagon doesn't set an explict ACL for each artfact that is uploaded.  Instead you should create an AWS Bucket Policy to set permissions on objects.  A bucket policy can be set in the [AWS Console][console] and can be generated using the [AWS Policy Generator][policy-generator].

In order to make the contents of a bucket public you need to add statements with the following details to your policy:

| Effect  | Principal | Action       | Amazon Resource Name (ARN)
| ------- | --------- | ------------ | --------------------------
| `Allow` | `*`       | `ListBucket` | `arn:aws:s3:::<BUCKET>`
| `Allow` | `*`       | `GetObject`  | `arn:aws:s3:::<BUCKET>/*`

If your policy is setup properly it should look something like:

```json
{
  "Id": "Policy1397027253868",
  "Statement": [
    {
      "Sid": "Stmt1397027243665",
      "Action": [
        "s3:ListBucket"
      ],
      "Effect": "Allow",
      "Resource": "arn:aws:s3:::<BUCKET>",
      "Principal": {
        "AWS": [
          "*"
        ]
      }
    },
    {
      "Sid": "Stmt1397027177153",
      "Action": [
        "s3:GetObject"
      ],
      "Effect": "Allow",
      "Resource": "arn:aws:s3:::<BUCKET>/*",
      "Principal": {
        "AWS": [
          "*"
        ]
      }
    }
  ]
}
```

If you prefer to use the [command line][cli], you can use the following script to make the contents of a bucket public:

```bash
BUCKET=<BUCKET>
TIMESTAMP=$(date +%Y%m%d%H%M)
POLICY=$(cat<<EOF
{
  "Id": "public-read-policy-$TIMESTAMP",
  "Statement": [
    {
      "Sid": "list-bucket-$TIMESTAMP",
      "Action": [
        "s3:ListBucket"
      ],
      "Effect": "Allow",
      "Resource": "arn:aws:s3:::$BUCKET",
      "Principal": {
        "AWS": [
          "*"
        ]
      }
    },
    {
      "Sid": "get-object-$TIMESTAMP",
      "Action": [
        "s3:GetObject"
      ],
      "Effect": "Allow",
      "Resource": "arn:aws:s3:::$BUCKET/*",
      "Principal": {
        "AWS": [
          "*"
        ]
      }
    }
  ]
}
EOF
)

aws s3api put-bucket-policy --bucket $BUCKET --policy "$POLICY"
```

[aws-maven]: http://search.maven.org/#search%7Cgav%7C1%7Cg%3A%22org.springframework.build%22%20AND%20a%3A%22aws-maven%22
[cli]: http://aws.amazon.com/documentation/cli/
[console]: https://console.aws.amazon.com/s3
[env-var]: http://docs.aws.amazon.com/AWSJavaSDK/latest/javadoc/com/amazonaws/auth/EnvironmentVariableCredentialsProvider.html
[instance-metadata]: http://docs.aws.amazon.com/AWSJavaSDK/latest/javadoc/com/amazonaws/auth/InstanceProfileCredentialsProvider.html
[policy-generator]: http://awspolicygen.s3.amazonaws.com/policygen.html
[s3]: http://aws.amazon.com/s3/
[sys-prop]: http://docs.aws.amazon.com/AWSJavaSDK/latest/javadoc/com/amazonaws/auth/SystemPropertiesCredentialsProvider.html
[wagon]: http://maven.apache.org/wagon/

## Usage in deploy:deploy-file
If you'd like to use aws-maven via `mvn deploy:deploy-file` to deploy non-maven jars to your s3 maven repo, you might want to install the aws-maven wagon provider and all of its dependencies into your maven installation's lib directory, so that the aws-maven wagon provider is available outside of the context of a project and its pom.xml. Here's one way to do that:

1. Build this project

		mvn clean package -PshadedWagon
 or if you find that an integration test fails

 		mvn -DskipTests=true clean package -PshadedWagon

3. Copy the shaded jar into your $MAVEN_HOME/lib

 First, find your maven home:

		$ mvn -v
		Apache Maven 3.2.3 (33f8c3e1027c3ddde99d3cdebad2656a31e8fdf4; 2014-08-11T16:58:10-04:00)
		Maven home: /usr/local/Cellar/maven/3.2.3/libexec
		Java version: 1.7.0_40, vendor: Oracle Corporation
		Java home: /Library/Java/JavaVirtualMachines/jdk1.7.0_40.jdk/Contents/Home/jre
		Default locale: en_US, platform encoding: UTF-8
		OS name: "mac os x", version: "10.9.5", arch: "x86_64", family: "mac"

 Now copy the shaded jar into your maven home:

		cp target/aws-maven-wagon.jar /usr/local/Cellar/maven/3.2.3/libexec/lib

4. Deploy your non-maven jar using a deploy:deploy-file command similar to this:

		mvn deploy:deploy-file \
		    -Dfile=example.jar \
		    -DgroupId=com.example \
		    -DartifactId=example \
		    -Dversion=1.0.0 \
		    -Dpackaging=jar \
		    -DrepositoryId=aws-release \
		    -Durl=s3://<BUCKET>/release

redpajama_set_name: RedPajamaGithub