text:
Diana Silvers Wants To Be More Than Just A Pretty Face
By Kristen Perrone
Lauren Perlstein
Diana Silvers is poised in front of a vanity mirror with her phone in hand. She and I have just moved a series of bags holding the door open, and before sitting down again, she peeks at a notification on her screen. "You ever feel like when your phone lights up, you want it to be one person to text you even though you know they're literally never going to text you?" she asks, placing down the phone. "But you're like, 'Maybe this will be the day they text me!'" Booksmart and Ma's Diana Silvers may not have the frequent contacts she wants, but right now, she seems to be doing just fine. After all, she is starring in two of the early summer's buzziest films.
Silvers' work as edgy loner Hope in Booksmart has garnered attention for depicting a painfully real same-sex hookup, while she stars as new kid Maggie opposite titular actor Octavia Spencer in the psychological horror movie Ma. But acting wasn't always the case for Silvers. The 21-year-old began her professional career as a model back when she was 17. She took the gig to make ends meet while she studied acting at New York University.
"I'm about to start school in New York at a very expensive private institution, I have lots of siblings, I don't know how I'm gonna afford this, so modeling — let's do this thing," Silvers says describing the reasoning behind the decision. Her modeling rep's partnership with a Hollywood talent agency gave her hopes that acting jobs would soon follow, but it was a long chain of events that included working with Academy Award winner Spencer that finally landed her an official slot at the talent agency.
"I don't think I was ever really an established model," she says, perched on a couch in a short, floral dress reminiscent of the mod movement. "I did my first American Vogue as an actress, I did my first French Vogue as an actress. I felt it was always like, 'Who's that girl?' because I've always felt that there's so much more going on inside me with what I can offer past just me standing there, looking pretty."
It's toward the end of Silvers' final press day for Ma when we speak, but apart from her occasional apologies for trailing off with thoughts, I can't sense her tiredness. She talks with her hands and widens her heavily lined eyes throughout the conversation, radiating the vibe of a passionate college student who feels particularly struck by the assigned reading. Instead of The Catcher in the Rye or The Great Gatsby, the inspirational reading was most recently her script for Ma, which hit theaters on May 31.
That's what acting is — getting into people's different psychologies and understanding the person to their core
"My script had different color codes with different types of sticky notes with different kinds of questions I would ask [director] Tate [Taylor]," Silvers says. "I'm like that with every script. I have all these questions and I'm such a nerd and I do all the research and I'm so excited to be there."
With Booksmart and Ma under her belt and an upcoming role in the thriller Eve, Silvers has definitely proven that doing her homework paid off. "It's fun to play with the psychology of anything," she says. "That's what acting is — getting into people's different psychologies and understanding the person to their core."
It's also clear that she's as much of a fan of movies and onscreen stories as she is a participant in them. She discusses the John Hughes canon ("Ferris Bueller's Day Off is fun, but I just thought that the Breakfast Club characters were so one-sided") and sings her praises for The Perks of Being a Wallflower, Almost Famous, and Lady Bird. Silvers is also quick to support her co-stars, regardless of whether they are new or established in the entertainment industry.
"There's something to learn from seasoned people and there's always something to learn from new people," she says. "We all bring something different to the table and we're learning from each other, whether it's in the way that a person just is ... [or] it's the way they work on set."
For now, Silvers is accustomed to playing high school students, but her two most recent roles capture what she calls "very opposite spectrums of teenage girlhood." Although Hope only appears in a handful of Booksmart scenes, her cool, lofty persona cracks when her attempt at sex with Kaitlyn Dever's Amy ends on an awkward note. Still, the relatable approach to the scene and the film's casual treatment of Amy's sexuality has kept fans talking online.
"I literally have goosebumps," Silvers says, showing me her arm as she recalls the DMs she's received from LGBTQIA+ teens who felt encouraged to come out after seeing the film. "I can't believe this movie's impacting young people so much that they have the courage or the strength to just be who they are and just live their truth. The fact that my three minutes in Booksmart is doing that, it's the best feeling in the world and something I'm never gonna forget."
After Booksmart's release, Silvers stepped directly into the spotlight for Ma and her role as Maggie, a teen forced to return to her mother's hometown after her parents' divorce. Quickly falling into a new group of friends, Maggie and her peers soon meet Spencer's Sue Ann, who agrees to buy them alcohol and let them hang out in her basement. Their relationship with Sue Ann, or Ma, turns concerning when her attitude toward their partying becomes a little too demanding and possessive.
"I was more like Hope in the sense that I was a loner," Silvers says about her characters. "I think there's a hybrid where I wanted to be liked but not so much that I would go to the parties and prove that I could hang. It's sometimes cathartic to play a character and express certain emotions and aspects of what I wish I had explored more at that stage of my life. Especially with Maggie, I got to go to the parties and see what that was about, and I was like, 'Actually, it's really good that I didn't, because nothing's even that great.'"
Both films explore women's takes on their high school years, and while Silvers may have second chances at her teenage experience through work, she isn't one to relish in this déjà vu. She laughs over the memory of a boy who decided against asking her to prom and later regretted his decision when he saw Booksmart, but other than reminiscing, she likes to look forward.
"[Those years are] so formative and at the same time they're not, which we're also learning," she says. "There's so much pressure in those four years to become who you're supposed to become when it's like, 'But think of the next four years and the next four years after that.' We have our whole lives to keep growing and changing and developing as people."
The years ahead also promise a shift in the kind of content that emerges from Hollywood. While Booksmart was a female-led buddy comedy with a female director, Ma joins a rising number of horror films with black leads. Silvers is particularly excited for a greater focus on well-rounded women in TV and movies.
"The female gaze is a very intimate one that has less to do, I think, with being sexy and more about being real," she says. "And that's not to say those things don't go hand in hand — they can and they do. But for the most part, as we see in Booksmart, that scene is so honest and so raw and so real. When you're watching it, or at least when I watch it, I'm not like, 'Wow, they're so hot,' you know? It's like, no, they're just real and they're figuring out what is going on here. I think at the end of the day, it's just about equal opportunity."
As her acting resume grows in response to this emphasis on equality, Silvers has her own ideas of how to guide her career in the right direction. She has written a short film that she may star in or direct, and she's still going to auditions. "I'm excited to be in the industry at this point and to be starting in this kind of climate," she says. "It's just one day at a time. I hope I get to do it all."
Photographs by Lauren Perlstein


text:
Dennis Ronald Ede (ur. 7 lipca 1925 w Shoreham-by-Sea) – brytyjski lekkoatleta, płotkarz i sprinter, wicemistrz Europy z 1946.

Zdobył srebrny medal w sztafecie 4 × 400 metrów na mistrzostwach Europy w 1946 w Oslo (skład brytyjskiej sztafety: Ede, Derek Pugh, Bernard Elliott i Bill Roberts). Ede wystąpił również w biegu na 400 metrów przez płotki, w którym zajął 6. miejsce w finale.

W 1946 Ede był mistrzem Wielkiej Brytanii (AAA) w biegu na 440 jardów przez płotki, w 1949 wicemistrzem na tym dystansie, a w 1947 brązowym medalistą.

Rekord życiowy Ede'ego w biegu na 400 metrów przez płotki wynosił 54,9 s (7 września 1947 w Paryżu), a w biegu na 440 jardów przez płotki 55,8 s (5 sierpnia 1946 w Londynie).

Przypisy

Brytyjscy płotkarze
Brytyjscy sprinterzy
Urodzeni w 1925

redpajama_set_name: RedPajamaWikipedia


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text:
Banks' war on cash halted after Positive Money campaign
This week, we scored a significant victory in the fight to protect the UK's access to cash. The Link scheme has cancelled planned cuts to the "interchange" fee which banks pay towards the cost of running the UK's network of cash machines. As our recent report 'The Future of Cash' explains, cash is relied upon by over two [...]
5,500 Sign Positive Money's Digital Cash Statement – What Happens Next?
Earlier today, Positive Money submitted a statement signed by thousands of supporters to MPs on the powerful Treasury Select Committee. The statement makes the case for Digital Cash, and asks the Committee to recognise the idea's widespread support. We're happy to report that this afternoon, we submitted a statement signed by 5,468 people to the [...]
Digital Cash: sign our joint statement
Positive Money have launched a joint statement on Digital Cash, which will be presented to the Treasury Select Committee next month. Click here to read the full statement and add your name. Earlier this month, MPs on the influential Treasury Select Committee announced an inquiry into the role of digital currencies. For those of us who [...]
New report: The Future of Cash
With the UK at risk of losing thousands of ATMs, new Positive Money research recommends that the Government gives regulators the role of protecting access to cash, and the power to stop ATM closures. Over three quarters (77%) of British adults class access to free ATMs as 'essential', according to results from a poll commissioned [...]
Bank of England inflation report: our reaction
Responding to the Bank of England's inflation report, Fran Boait, Executive Director of Positive Money, said: "The Bank of England is leading with the message that "the economy now needs a little less support." But the question is what parts of the economy should be supported - financial markets or the rest of the economy? [...]
Competing visions for our financial system after Brexit
What should be the future of monetary policy and financial regulation after Brexit? It's set to be a fiercely contested battle over the coming months, with two competing visions of how our economic institutions should evolve. On the one hand, a House of Lords report out this week advances the idea that UK regulators, including [...]
'Escaping Growth Dependency' report launched in parliament
MPs discuss the role of the money and banking system in fuelling climate change through excessive debt LONDON, 18th January 2018 - Research and campaign group Positive Money today launched a new report which sets out why governments are pursuing limitless economic growth despite clear environmental constraints, at an event in Parliament. The report, titled [...]
Philip Hammond's other deficit
Philip Hammond delivered yesterday's budget in the context of the worst decade for real wage growth in living memory, and at time when households are borrowing at near-record levels just to make ends meet. As always, the Chancellor justified his plans by pointing to the government's progress towards eliminating the budget deficit. But in doing [...]
No rate rise without a pay rise
The markets believe it. As the Bank of England is expected to raise interest rates on Thursday morning for the first time in more than a decade, the pound has climbed steadily against the dollar. Yet it's unprecedented, and extremely risky, to raise rates at a time when real wages are falling. With many households [...]

redpajama_set_name: RedPajamaCommonCrawl


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when you look at its eyes, it's a majestic bird with an attitude.
am in awe every time I see an eagle fly or sitting on a branch.
inclusion in our national symbols.
also eat waterfowl, especially the sick or injured, and carrion.
young's first flight is typically about 75 days after hatching.
killing, selling, or possession of the species.
delisted from the threatened and endangered species list.
Species of Special Concern and monitoring remains a priority.
numbers of eagles in the 1990s and slower growth in the 2000s.


text:
Tag Archives: climate science
800 Scholars Protest Virginia Attorney General's Investigation of Climate Researcher
Talk about a chilling effect (no pun intended) – here's an article from Chronicle of Higher Education – The Ticker – May 18, 2010:
More than 800 Virginia scientists and faculty members have signed a letter to the state's attorney general, Kenneth T. Cuccinelli, asking that he drop an investigation into the work of Michael E. Mann, a prominent climate scientist who was a professor at the University of Virginia before accepting a post at Pennsylvania State University at University Park. The letter, delivered today, calls the investigation "unfounded" harassment and says it "could undermine the effectiveness of not only climate scientists but also thousands of other Virginia researchers" by making them fear "unwarranted legal intimidation."
Early this month Mr. Cuccinelli filed a broad civil investigative demand under Virginia's Fraud Against Taxpayers Act for information related to grants Mr. Mann sought for research while he was at the University of Virginia—research that was subsequently caught up in the so-called Climategate scandal over researchers' stolen e-mail messages. Penn State found earlier this year that Mr. Mann had not falsified research data.
The University of Virginia has until May 27 to respond to Mr. Cuccinelli's information request.
This entry was posted in Uncategorized and tagged Academic Freedom, climate science on May 19, 2010 by ssvolk.


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text:
Q: Редирект в .htaccess без точных ссылок форумчане. Есть сайт, с ним проблема. Прошу о помощи т.к не понял/не нашёл информации о редиректах в .htaccess.
Проблема состоит в чём. В .htaccess прописаны ссылки... Пример:
RewriteRule ^test.*$ /downloads/image.png [R=301,L]

При переходе по ссылке site.ru/test открывается либо скачивается изображение.
Всё хорошо, но вот проблема в чём, при переходе по выше упомянутой ссылке, в адресной строке появляется точная ссылка к файлу site.ru/downloads/image.png
Как сделать так чтобы это изображение/страница открывались и при этом имели указанный адрес в htaccess без точной ссылки. (site.ru/test вместо site.ru/example.html)

A: RewriteEngine On
RewriteRule ^test.*$ /downloads/image.png [L]

redpajama_set_name: RedPajamaStackExchange


Since the first sentence in Steppenwolf, we can realize that Hermann Hesse didn't have a spiritual and peaceful life in those days.
Biographically speaking, it is important to say that Hesse received form his parents a strict education, adverse to any artistic ambition. When he was fifteen, he suffered from depression and, during the period when he attended the seminary, he even attempted to commit suicide: this episode marked his existence forever. He received a rigid education from the institute, and after the studies, he started a job as a clockmaker, but in the meantime he discovers his grandfather'st vast library: he reads Goethe, Dostoevsky, Schiller and Novalis. He moves to Basel, where he marries a woman with whom he will have three children.
Three phenomena covers a fundamental importance in Hesse's works: the difficulties related to the family sphere (the difficult relationship with the wife having mental problems, the death of the father and the illness of one of the three childrens), the impatience for the sedentary life that will lead him to undertake the journey to Orient, and the outbreak of the First World War. The problem with the family will lead him into a state of profound depression and then to the consultation of a psychoanalyst, but above all to study the matter. In fact, Hesse's works before this period can be defined "neo-romantic", influenced by the literary fashions of the time (Peter Camenzind) and mostly critical to a school educational system which was extremely repressive, surrounded by the noisy bourgeois echo (Beneath The Wheel).
As mentioned, his works had a revolution after studying psychoanalysis, in fact Demian is a clear example of adherence to it. The topics are the same (the distinction between good and evil, the refusal of bourgeois society and the homesickness of childhood), but addressed with a new awareness.
Subsequently it is in Siddhartha that experiences like travel to India and familiarity with the Indian and oriental religions, philosophies and literatures take place. More than any other, this is the novel about self-seeking, the identification of the ego.
It is a threefold perspective that recalls an expressionist experiment. In fact it could also be understood as a kind of bildungroman (novel of formation) that narrates the events of a fifty-years old, Harry Haller (the name of the protagonist has the same initials as those of the author), split between two worlds, always different and opposed: civilization and nature, spirit and instinct, bourgeoisie and proletarian, man and wolf. Through this awareness that compels him to unpleasant situations, he begins to mature the idea of ending his pains by killing himself.
The conception of the Steppenwolf as a man oriented to create, to convert his nature his own life into an art piece, a continuous movement that oscillates among more states of mind, a wandering in the silence of solitude, a beauty of every moment, a perpetual pursuit of the absolute living and dying and staying in eternity.
Humor: the most ingenious and singular invention of all mankind, is the only way of escape for those men who remain bound, like Harry, to the ingenuity of the bourgeoisie. This idea is, in some way, bourgeois, although the latter (the bourgeoisie) is incapable of understanding and perceiving it.
The last point is strongly influenced by Hesse's approach, with the psychoanalysis and philosophy we already mentioned. The ego is not a single form but a multifaceted layer of multiple unidentifiable and inadequate elements. Nietzsche and Schopenhauer have conditioned him.
And here is the last act, the Magic Theatre, in which Hesse succeeds in perfectly merging a dreamlike and transcendental vision, into a vision of reality, although theoretical and abstract.
The visit to the theatre begins at the end of a masquerade evening, when Pablo calls Hermine and Harry in a room where there are an incredible number of doors.
In each of them the protagonist finds himself in a different situation. The first is a room where a war situation is simulated: cars crashing against pedestrians and men shooting at aircraft. In the second one, a man gives Harry the cards where on each of them is drawn a trait of the personality belonging to the wolf. In the third one, a scene is described where a man holds a completely harmless wolf, who doesn't care about the goat and the hare near to him and prefers to eat chocolate; but in a second scene the parties are inverted, now the wolf is leading the man and, once he sees the animals, his carnivorous spirit arises.
In a final note to his readers, Hesse specifies that, beyond the wolf and its difficulties, beyond the negativity, the novel talks about the higher, immortal universe of spirit, art and smile, which present a positive world against the world of the wolf. This isn't the book of a desperate man. It's the book of a man who will be reborn.


text:
"""
Tests for :mod:`ranger-ims-server.model._entry`
"""

from ims.ext.trial import TestCase

from .._state import IncidentState, stateDescriptions

__all__ = ()

class IncidentStateTests(TestCase):
    """
    Tests for :class:`IncidentState`
    """

    def test_repr(self) -> None:
        """
        Incident state renders as a string.
        """
        for state in IncidentState:
            self.assertEqual(
                repr(state), f"{IncidentState.__name__}[{state.name!r}]"
            )

    def test_str(self) -> None:
        """
        Incident state renders as a string.
        """
        for state in IncidentState:
            self.assertEqual(str(state), stateDescriptions[state.name])

redpajama_set_name: RedPajamaGithub


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The rendering done up to this point hasn't been done very efficiently. New lists of vertices were allocated every time the scene was rendered, and everything was stored in system memory. With modern graphics cards having an abundance of memory built into the card, you can get vast performance improvements by storing your vertex data in the video memory of the card. Having the vertex data stored in system memory requires copying the data from the system to the video card every time the scene will be rendered, and this copying of data can be quite time consuming. Removing the allocation from every frame could only help as well.
Direct3D has just the mechanism needed for this: vertex buffers. A vertex buffer, much like its name, is a memory store for vertices. The flexibility of vertex buffers makes them ideal for sharing transformed geometry in your scene. So how can the simple triangle application from Chapter 1, "Introducing Direct3D," be modified to use vertex buffers?
Creating a vertex buffer is quite simple. There are three constructors that can be used to do so; we will look at each one.
device—The Direct3D device you are using to create this vertex buffer. The vertex buffer will only be valid on this device.
sizeOfBufferInBytes—The size you want the vertex buffer to be, in bytes. If you are using the constructor with this parameter, the buffer will be able to hold any type of vertex.
typeVertexType—If you want your vertex buffer to only contain one type of vertex, you can specify that type here. This can be the type of one of the built-in vertex structures in the CustomVertex class, or it can be a user defined vertex type. This value cannot be null.
umVerts—When specifying the type of vertex you want to store in your buffer, you must also specify the maximum number of vertices the buffer will store of that type. This value must be greater than zero.
DoNotClip—Used to indicate that this vertex buffer will never require clipping. You must set the clipping render state to false when rendering from a vertex buffer using this flag.
Dynamic—Used to indicate that this vertex buffer requires dynamic memory use. If this flag isn't specified, the vertex buffer is static. Static vertex buffers are normally stored in video memory, while dynamic buffers are stored in AGP memory, so choosing this option is useful for drivers to determine where to store the memory. See the DirectX SDK documentation for more information on Dynamic usage.
Npatches—Used to indicate that this vertex buffer will be used to draw N-Patches.
Points—Used to indicate that this vertex buffer will be used to draw points.
RTPatches—Used to indicate that this vertex buffer will be used to draw high order primitives.
SoftwareProcessing—Used to indicate that vertex processing should happen in software. Otherwise, vertex processing should happen in hardware.
WriteOnly—Used to indicate that this vertex buffer will never be read from. Unless you have a very good reason for needing to read vertex buffer data, you should always select this option. Data stored in video memory that does not include this option suffers a severe performance penalty.
vertexFormat—Defines the format of the vertices that will be stored in this buffer. You can choose VertexFormat.None if you plan on having this be a generic buffer.
Default—The vertex buffer is placed in the memory pool most appropriate for the data it contains. This is normally in either video memory or AGP memory, depending on the usage parameter. Vertex buffers created in this memory pool will be automatically disposed before a device reset.
Managed—The vertex buffer's data is automatically copied to device accessible memory as needed. The data is also backed by a system memory buffer, and can always be locked.
SystemMemory—The vertex buffer's data is placed in system memory, where it is not accessible from the device.
Scratch—A system memory pool that is not bound by a device, and thus cannot be used by the device. It is useful for manipulating data without being bound to a particular device format.
Much like the device, there is an overload for our vertex buffer that takes an IntPtr. This value is used to pass in the actual COM interface pointer for the unmanaged IDirect3DVertexBuffer9 interface. This is useful when you want to use a vertex buffer created from an external (unmanaged) source. Any fully managed application will never use this constructor, and this value cannot be null.
The only changes here are the two new lines after our triangle creation code. We first create a vertex buffer holding three members of the vertex structure type we've already declared. We want the buffer to be write-only, dynamic, and stored in the default memory pool for best performance. We then need to actually put our triangle list into our vertex buffer, and we accomplish this easily with the SetData method. This method accepts any generic object (much like DrawUserPrimitives) as its first member. The second member is the offset where we want to place our data, and since we want to fill in all of the data, we will use zero here. The last parameter is how we want the buffer locked while we are writing our data. We will discuss the various locking mechanisms shortly; for now, we don't care about how it's locked.
Compiling the application now will naturally give you a compile error since the DrawUserPrimitives call in OnPaint requires the "verts" variable. We need a way to tell Direct3D that we want to draw from our vertex buffer rather than the array we had declared before.
The only difference between the two overloads is that one contains an extra member for the stride size of the stream. The first parameter is the stream number we will be using for this data. For now, we will always use zero as this parameter; however, we will discuss multiple streams in a later chapter. The second parameter is the vertex buffer that holds the data we want to use as our source. The third parameter is the offset (in bytes) into the vertex buffer that we want to be the beginning of the data Direct3D will draw from. The stride size parameter (which is only in one overload) is the size of each vertex in the buffer. If you've created your vertex buffer with a type, using the overload with this parameter isn't necessary.
As just described, we set stream zero to our vertex buffer, and since we want to use all of the data, we have our offset as zero as well. Notice that we've also changed the actual drawing call. Since we have all of our data in a vertex buffer, we no longer need to call the DrawUserPrimitives method because that function is only designed to draw user-defined data passed directly into the method. The more generic DrawPrimitives function will draw our primitives from our stream source. The DrawPrimitives method has three parameters, the first being the primitive type we've already discussed. The second parameter is the starting vertex in the stream. The last parameter is the number of primitives we will be drawing.
Even this simple demonstration of drawing a triangle with a vertex buffer shows approximately a 10% increase in performance based on frame rate. We will get into measuring performance and frame rates in later chapters. However, there is still a problem with this application that makes itself readily apparent when you attempt to resize your window. The triangle simply disappears as soon as your window is resized.
There are a few things going on here that are causing this behavior, and two of them have been mentioned briefly already. Remembering back to the previous chapter, we know that when our window is resized, our device is automatically reset. However, when a resource is created in the default memory pool (such as our vertex buffer), it is automatically disposed when the device is reset. So while our window is being resized, our device is being reset, and our vertex buffer disposed. One of the nifty features of Managed DirectX is that it will automatically re-create your vertex buffer for you after the device has been reset. However, there will be no data in the buffer, so the next time it's time to draw, nothing is shown.
This code hooks the created event from the vertex buffer, and ensures that our OnVertexBufferCreate method is called whenever our vertex buffer has been created. Since the event hasn't been hooked up when the object is first created, we need to manually call our event handler function for the first time. Now run the application once more and try resizing the window.
You've now successfully updated the simple triangle application from an inefficient one to a much more efficient one using video memory and vertex buffers. However, it still seems quite boring, a single triangle spinning around. Now, you can try to make something even more exciting. A common first thing to try would be to render a box, so it's time to do that. The code will get slightly more complicated now, but all the basic principles will still apply.
All graphics resources will automatically be disposed if they are stored in video memory during a device reset; however, only vertex and index buffers will be re-created for you after the reset. Also note that all resources are also disposed when the device itself is disposed.
The major thing we're doing is changing the size of the vertex buffer we've created to hold all the data we want to render. We've also changed the rotation somewhat to make the box spin a little crazier. Finally, we actually change our rendering call to render all 12 primitives, rather than the single triangle we had before. Actually, since our box is a fully formed 3D object that is completely filled, we no longer need to see the back-facing triangles. We can use the default culling mode in Direct3D (counterclockwise). Go ahead and remove the cull mode line from your source. You can try running the example now.
Terrific, we've now got a colorful box spinning around our screen. Each face of the box is a different color, and we can see each face of the box as it rotates without turning our back face culling off. If you wanted to render more than one box in a scene, hopefully you wouldn't create a series of vertex buffers, one for each box. There's a much easier way to do this.
So, what exactly are we doing here? Direct3D already knows what type of vertices we are planning on drawing, due to the VertexFormat property we set to draw our first box. It also knows what vertex buffer to retrieve the data from due to the SetStreamSource function also used on the first box. So what does Direct3D need to know in order to draw a second (and third) box? The only information that is needed is where and what to draw.
Setting the world transform will "move" our data from object space into world space, so what are we using as our transformation matrix? First, we rotate much like we did in the SetupCamera function; although we use a slightly different rotation function, that's just so the boxes rotate at different angles. The second half of the world transform is new, though. We multiply a Matrix.Translation to our existing rotation matrix. A translation matrix provides a way to move vertices from one point to another in world space. Looking at our translation points, we want to move the second box five units to the right, while we are moving the third box five units to the left.
You will also notice that we multiply our two transformation matrices, which provides us with a cumulative transformation of the arguments. They are done in the order they are specified, so in this case, our vertices will be rotated first, then translated (moved) second. Translating and then rotating would provide very different results. It is important to remember the order of operations when you are transforming vertices.
The code included with the CD shows updated code that draws a total of nine boxes rather than the three shown here. See Figure 3.1.


Aunt Wang was very upset. If only she didn't listen to the Xiao Lu's stupid idea last night then the dining room wouldn't have became like this. What smoke?
Qin Wen thought for a while before finally remembering that Xiao Lu's Madam was Mu Qincheng. His face changed slightly. Last time's bath indicient almost ruined him to death. What a stupid woman.
Qin Wen's words were not even a bit polite. The so-called "Mistress" themselves knew just how they became the Mistress of the Regent Palace. It was only a false empty title, but did they really regarded themselves as the Madame of the household? They only want to use despicable means to climb into bed of the Wangye.
Aunt Wang, Aunt Li and Liu Xiaoge watched as Xiao Lu took the blame, their hearts became moved, the their gazes at Xiao Lu also turned into looks of gratitude.
Regardless of status Mu Qingcheng held in the Regent Palace, Qin Wen would not openly go against her. Xiao Lu's explanation had dragged Mu Qingcheng into it, and with Qin Wen only reducing their monthly salary was already a good thing.
When the group of people saw Qin Wen leave, they released their breaths.
Xiao Lu's eyes flashed, but showed flatterness on the surface. It was as if she was just a very loyal, a very naive girl.
Not long after, Qin Wen turned around. But this time, his steps were very fast, as if there was something important he wanted.
When the group of people witness this, they became fearful. Did Qin Guanjia feel that the monthly deduction was too light?
So, someone remembered there was a special white pet.


At Water Heaters Only Inc, we've had the opportunity to deal with almost every water heater problem over the last 50 years in business. We receive many calls for problems with water heater, but there are 3 problems our customers ask about most frequently. The top three issues are our customers ask about most often are: I have no hot water, my water heater is leaking and why does my water heater make that awful sound, it that dangerous? These three issues happen for different reasons. We will explain below in detail about each issue.
When you have no hot water it is usually a sign that the water heater pilot light has gone out. The first thing to do is to try and relight the pilot. If your pilot relights, check it again in about 30 mins. If it is still lit than the issue my be solved. If the pilot light has gone out again, it means that a part has started to fail and may require replacement. If the pilot does not light at all or goes right out after you try to light it, you may have a part that has failed and the tank will require service. This is a good time to call and speak with one of our water heater experts to start a conversation about the problem and find a solution or schedule service. Our water heater experts answer the phone 24/7/365 and are happy to help with a little troubleshooting over the phone.
A leaking water heater is a clear sign of a problem. We always recommend that you look around the water heater and make sure the leak is not coming from a washing machine or air conditioning unit. Once you have ruled out other possible causes for a leak and you are sure it is the water heater leaking, it's time to find out why the water heater is leaking. If you notice a leak at the top of the tank coming from a pipe or a plumbing fitting, you may be in luck and only need to have a minor plumbing repair. Something as simple as replacing the pipe or the plumbing fitting may fix the problem. On the other hand if the water heater looks like it is leaking from the bottom or you just see water pooling around the bottom of the tank, then it is most likely time to replace the water heater. This is often a sign that the internal tank has cracked and water is flowing out from inside the water heater.
When your water heater starts "banging" or "rumbling" or making other load unusual noises it most often is caused by sediment build up inside the tank. When the water heater turns on the heat itself and there is a layer of hardened sediment at the bottom the water heater will often make a loud noise. This is the tank expanding as it heats and the sediment heating up will cause the water heater to emit strange sounds. This is not typically a dangerous issue, although it can be bothersome. This is often a precursor to water heater failure. It also means the water heater is working much harder than it should to heat the water and is wasting energy.
Sometimes a problematic water heater is not a problem with the water heater at all, but the conditions around it that are causing the issues. Today's water heaters are very sensitive to their surroundings. Tanks need proper ventilation to breath so they do not overheat. Make sure there is clear space around your water heater and if your water heater is in a closet, make sure there are vents on the door to allow air to flow inside the closet. Water heaters also need to have adequate venting so they do not back draft, leaking carbon monoxide inside and causing problems to the baffle and parts. Make sure your draft hood is attached properly and that your vent runs at an uphill angle.
If your having trouble with your water heater – call to speak with one of our water heater experts. Water Heaters Only, Inc answers the phone 24 hours a day 7 days a week 365 days a year. We do not charge extra for evening or weekend service. If you are experiencing a problem not listed you can also check out our FAQ page. We have over 50 water heater FAQ's with answers.
If your water heater is currently leaking and you need to turn off the water and gas or electricity, call us 24 hours a day 7 days a week 365 days a year at 1-925-449-4996 or click below for our emergency shut down instructions.


As silly as it sounds, there was a time in my life when my shadow became a kind of guardian angel, a surprising friend in what can sometimes be the loneliest of places: New York City. I was a young 20-something working hard to build my career in public relations. Dressed as fashionably as my budget allowed, I'd swing a leather tote and click my cheap heels, admiring the long shadow cast and the way the sunlight warmed me.
My "shadow friend" remained by my side, joining me in corporate meeting rooms and later on humanitarian trips with UNICEF to El Salvador, Haiti, Sarajevo and elsewhere. It escorted me to social outings with old and new friends, and it was right there when I married a boy named Brett from a neighboring town in Connecticut where I'd grown up.
I can pinpoint the moment everything changed. It was when Brett was diagnosed with brain cancer only four years into our married lives. From then on, the light of my shadow fell away; I had lost a sense of self. While no one could predict the path Brett's cancer would take, all hope and trust and safety in the world felt eclipsed.
Life would take many turns for us over the next seven years (and not all of them bad in spite of my initial terror). As the patient, Brett did all he could to separate himself from his disease. He fought like hell in the chemo clinic and after radiation and surgeries so that he did not have to identify with being a cancer patient. Never did he broadcast his cancer. It was exactly the opposite: He did everything he could to avoid talking about it.
We go where we need to go. Retaining emotional distance was necessary for Brett, but I have an equally brave friend fighting cancer today who shares her setbacks and gains on Facebook many times a week, sometimes twice a day. Members of Christy Bailey's Facebook Fan Club know when she's strong enough to go on a hike and when her oncologist gives her a pep talk that the malignant pleural effusion she has isn't the death sentence she fears it might be. In this way, Christy feels less alone and more supported by the web of friends who would love her to wellness if only we could.
My own style as a cancer caregiver was somewhere in between Brett and Christy's. Being told your husband had a terminal disease at age 30 meant that fear was always lurking, even if left unsaid. I couldn't not talk about it even though asking for help made me cringe, especially when we were beyond crisis mode, when life simply moved to its altered beat.
And now that the emergencies were behind us, there was only the numbing sensation of trauma and real life. I wanted you home with me because your very presence reassured me. Instead, I lay in bed and stared mindlessly into your cedar closet. You'd left the door open. Your business shirts lined the front pole, and you kept a full jar of spare change on the top shelf... Eventually, yes, I started my pajama-clad morning from the tiny, makeshift office at the back of our dining room. I sipped my coffee, and began, like always, by looking out the window. In such empty moments, I found that I could separate from your cancer. I gazed at the cracked concrete of the building adjacent to ours. Its imperfections soothed me. -- Both Sides Now: A True Story of Love, Loss, and Bold Living.
I used to believe that all stories had a beginning, middle and end. Brett died in February of 2004, just shy of his 40th birthday. I was 37, and our twins were 2.5 years old. While in the most obvious of ways, Brett's death was a finite end; it would take several years for me to realize not only that the three of us could make a pleasing new life, but that doing so meant rewriting our story. That was the hard part.
For reasons I have yet to fully understand, I wore widowhood like an unsightly blemish. I'm embarrassed by the intensity of my feelings, but that is how I felt. Marked. Tarnished. Out of sync.
Tell me about yourself. "I'm Nancy Sharp. I'm widowed."
Imagine. These are the first words I used to introduce myself in any business or social situation. It was less of an apology than a justification for living. Shame is toxic however you view it.
I let "I'm widowed" define me, choosing to ignore all the other parts that made me whole -- as mother, daughter, friend, writer, lover of good food, spiritual seeker and the kind of reader who dreams of a week alone on the beach with nothing but books for entertainment. Even after the twins and I left Manhattan for the open skies of Denver in 2006, this was the story I told my new community: "I'm widowed."
It wasn't until my second year in Colorado that the story line shifted. I was taking a Kabbalah class, and the instructor asked us to introduce ourselves the way we might at a party. I began..."I'm Nancy Sharp. I'm widowed." This time I stopped myself.
The tears came fast and were pooled with shame. I had come to this painful truth on my own. How could I possibly make a new life for myself and my children in Denver when I was still tethered to the old story. Now the risks were even higher because I'd begun to seriously date a TV news anchor who also happened to be widowed with two children. Was it even conceivable for us to be together if I was still stuck in the past?
From then on, I began to reframe my story. I simply stopped mentioning the "W" word. I didn't go out of my way to avoid such talk; I simply chose not to focus on it. I chose to talk about my writing and my children and how much fun I was having in Denver fixing toilets, learning to tell a weed from a flower and grilling chicken kabobs--things I never did during the previous eighteen years in Manhattan. When I slipped and reverted to the old story line, I corrected myself and moved on.
Is there even one degree of separation between those whose lives have been touched by cancer and those who remain unscathed today? I doubt it.
For the 1.6 million people in the U.S. alone who will be diagnosed with cancer in 2014, do not let cancer become your life narrative.
For the millions of cancer survivors, keep moving forward, living strong and bold.
For all those caregivers and friends who will forever mourn loved ones lost to this disease, hold your memories dear without letting them obscure the present. The same is true for loss of any kind. The best way to memorialize a loved one is to choose life.
Wherever you are, dance to the light of your shadow, and by all means, write the story you want to live.


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Next Article in Opinions
The Minority Dream Goes Digital
By Paul A. Greenberg
April 6, 2001 3:55 PM PT
As the New Economy fights its way into mainstream American commerce, minority-owned businesses are experiencing a struggle similar to the one they have endured offline for years.
It's an old story in a new setting: a scenario with which Americans are all too familiar. The potential cultural danger is that it may not be the fittest who survive, but the biggest, and yes, the whitest.
That's particularly disheartening to some, in light of new information from Rev. Jesse Jackson's Citizenship Education Fund, showing that 48 percent of African Americans and 52 percent of Hispanics have computers in their homes. Jackson's study was conducted in 700 urban U.S. communities.
Jackson's contention is that with almost half of minorities now "wired," online businesses need to recognize these potential new markets as viable, and market directly to minority customers.
That Which Divides Us
Connecting minority citizens to the Internet wouldn't mean much to the future of e-commerce if those to be connected didn't spend in general.
However, recent research from the University of Georgia's Selig Center for Economic Growth indicates minorities are actually spending more vigorously than ever. The past decade has seen discretionary spending by minorities literally double, from US$439.9 billion in 1990 to a projected $860.6 billion this year.
With numbers like that, the problem is clearly not buying power. The problem, instead, has to do with inclusion. Currently, only the most powerful e-tailers are still standing, and many of them are associated with brick-and-mortar establishments, most of which are not minority-owned or focused.
Where does that leave minority citizens?
Lift Every Voice
No one is suggesting that e-commerce should be required to become a bastion of social justice, or that e-tailers should exclusively target minority consumers. However, blatantly ignoring minority markets is a losing proposition for all involved.
The Citizenship Education Fund intends to distribute its study results to online companies, in the hopes that they will use the data in determining market strategy, branding and new product development.
This, of course, assumes that New Economy players might be willing to break with tradition by including minorities in market activity, and ending the old world practice of relegating specific ethnic groups to positions of dependency on large, powerful corporations.
This time, it is not about promoting separatism among races and genders. This time, it has to do with enabling all Americans to claim a piece of what promises to be a more efficient and sophisticated economic model.
Same Old, Same Old?
Because of the necessity of including minorities in the pioneer days of e-commerce, the U.S. government should take a more active role in addressing this issue — as much or more than individual Americans or industrial giants. Yet it appears despite its own projections of vast imminent spending by minorities, the government is not striving for inclusiveness in the New Economy.
Consider: Even though the U.S. Census Bureau projects annual buying power of $2 trillion among minority Americans by the year 2015, the government appears to make minimal effort to foster small business growth in these communities. Of the 23 percent of General Services Administration (GSA) federal contracts awarded to small businesses, currently only 5 percent go to minorities.
In part because of the government's passivity, Jackson's Rainbow/PUSH Coalition launched the "Silicon Valley Project" two years ago. This project finds funding for minority businesses from venture capitalists and technology entrepreneurs. It also strives to increase the representation of people of color in high-tech companies.
Industry Steps Up
Encouragingly, this type of grassroots effort is not limited to social programs or nonprofit organizations. In fact, major Internet economy players, including Microsoft, are working to fuel the New Economy with diversity.
Microsoft is actively working to include more Hispanic and African-American small businesses in the New Economy, by conducting 85 free workshops in 14 cities geared toward teaching minority business owners how to use the Internet to grow their businesses.
Sensitive readers will pardon the expression, but Microsoft's workshops are a decidedly "affirmative action" that should result in the propulsion of minority-owned small businesses onto the Internet.
On the other hand, the news on inclusiveness is not all good for Microsoft. The company is being sued over an alleged pattern of racial and sexual discrimination against African-American and female employees.
Disadvantaged No Longer
Meanwhile, in the category of helping those who help themselves, minorities are reaching out to each other in the business-to-business (B2B) sector. MinorityAmerica.com, for example, enables minority-owned businesses to find and buy from minority suppliers through a continually updated national database.
This is a stellar example of smart marketing and essential networking. It is the Internet at its best, working to provide access, opportunity and economic muscle for those who have for many years almost assumed such concepts were only for the "other guy."
But it's not enough.
What do you think? Let's talk about it.
Note: The opinions expressed by our columnists are their own and do not necessarily reflect the views of the E-Commerce Times or its management.
More by Paul A. Greenberg
New B2B Exchange To Empower Minorities, Women
One Year Ago: Time To Kick eToys off the Island
A Tale of Two Giants: Amazon and Kmart
And the Winner Is – Online Travel
The New War on Cybercrime
U.S. Government Turns Over New E-Commerce Leaf
E-Commerce Sites Fail Security 101
The Customer Service That E-tailers Forgot
Four Cornerstones of E-Commerce Success in 2002
Online Car Sales: Bricks-and-Clicks Still Matter
Priceline and AOL: Ready for Takeoff
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The Fascinating Dance Between Twitter and Musk
Cryptocurrency as a Hedge Against the Declining Dollar
The Great Sales Methodology Debate, Solved
Google vs. Apple Smartphones: Similar Capabilities, Polar Opposites in Strategic Execution
The Global Information Network
From Windows 95 to Windows 11: A Matter of Perspective
Dreamforce Observations
Microsoft Finally Has Truly Competitive Alternatives to Apple Products
We're Late Closing the Barn Door on Pegasus


text:
Сади́ба — «житловий будинок та господарські будівлі з прилеглими до них садом і городом, що разом з ними є окремим господарством». Те саме, що маєток». Це господарські споруди з житловим будинком, що утворювали комплекс двору. В радянські часи (общинний колективний лад) садибою називалися адміністративно-громадські, виробничо-господарські та житлові будівлі колгоспу, радянського господарства тощо, зосереджені в одному місці. Це ділянка землі, що відводиться комусь для забудови, під сад та город.

Селянська садиба

Селянська садиба (житлово-виробничий комплекс), центром якої завжди була хата, займала земельну ділянку, де за певного системою розміщувалися, крім житла, господарські будівлі з подвір'ями, сад і город.
Садиба (або садибна забудова) — тип забудови, основними репрезентативними елементами якої були: огорожа (наприклад, посаджені палі), ворота, галереї та дахи будинків. Такий тип забудови, згідно з аналізом археологічних досліджень, характерний для Києва Х–ХІ ст., а також для багатьох великих міст Центрально-Східної Європи

Садиба як житловий будинок та господарські будівлі з прилеглими до них садом і городом, що разом з ними є окремим господарством мали свої локальні особливості. Локальна своєрідність садиб у різних історико-етнографічних районах України виникла завдяки різним комбінаціям господарських будівель, їхнім архітектурно-конструктивним особливостям, що залежало від наявності будівельних матеріалів, місцевих будівельних традицій.

У часи Середньовіччя садиба — дворище — була підпорядкована потребам вільної родини. Це були багатобудинкові двори, в яких будівлі не загороджували, вільно розташовували на ділянці землі, якою користувалися усі господарі спільно Залишки подібного господарства можна спостерігати у Сколівському районі на Львівщині.

У Карпатах, гуцульська садиба («осідок») називалась ґраждою. Основну виробничу ланку становила велика сім'я, община, які селилися окремими групами. Садиби були розкидані по горах і долинах далеко одна від одної.

Існували садиби з незамкненим, відкритим подвір'ям, на якому господарські споруди розміщувалися вільно, без певного порядку а також замкнені — наприклад: гуцульські гражди. Поряд з такою схемою в окремих районах України побутували локальні варіанти однорядної і дворядної, Г-подібної, а також замкненої забудови відкритого двору.

З розпадом великої родини на окремі садиба стала одноосібним господарством.

Дворянська садиба
 Див.також: Садиба заможної людини
З виникненням боярства, в епоху розкладу родоплемінних відносин у слов'янських племен (6-9 ст.) садиби перетворюються у феодальні маєтки: садиба — феодальний маєток, поміщицький будинок, палац та господарські будівлі з підтримки сільськогосподарських угідь та лісів, майданчики дуже великої власності; володіння знатних людей (дворян, старшин, шляхти, купців) і заможних представників інших класів, періоду XVII — початок XX ст. Адміністративний центр найнижчої одиниці територіальної організації в феодальній системі в Європі.

У садибі, або як тоді її називали «двір», боярин міг витримати навіть облогу. Наприклад, в 1611 році князь Пожарський оборонявся від поляків у своєму дворі.

До складу класичної панської садиби-маєтку зазвичай входив хазяйський будинок, кілька флігелів, стайня, парк зі ставками, алеями, альтанками, гротами, «людські» хати челяді, возівня, кузня, лазня, комори і погреби, інколи до садиби входила церква.

Перші шляхетські садиби в Україні
Виділяють кілька основних категорій садиб, що збереглися:

 садиби багатих осіб XVII століття
 садиби поміщиків XVIII—XIX ст.
 міські садиби XVIII—XIX ст.

У часи Королівства Польського та Великого князівства Литовського на теренах України знать починає зводити муровані замки та палаци. Їхня величина та інтер'єр залежали від статків та уподобань власника. Так великий магнат для побудови маєтку міг залучити відомих італійських архітекторів, облаштувати бароковий парк зі скульптурами і фонтанами. Чудовим прикладом палацового мистецтва того часу є Золочівський замок.

В цей самий час садиби дрібних шляхтичів мало чим відрізнялись від селянських хат. Їх будували з дерева, інколи білили, але при цьому за багато століть між дрібним маєтком і сільським будинком виникли ряд відмінностей. Наприклад, панська садиба розташовувалась на помості, була багатокамерною, просторою, підлогу вкривав дощатий паркет, а в кожній кімнаті стояла грубка. Селянська ж хата була заглиблена у землю, єдиними кімнатами були сіни та житлове приміщення з курною піччю, підлогу вкривала земляна долівка. У таких хатах могли жити не тільки селяни, а й зубожіла шляхта.

Садиби козацької старшини
у XVII ст. козацтво виокремлюється в окремий стан. У той же самий час козацька старшина почала зводити для своїх потреб кам'яні садиби. Їхнє планування було подібне до сільських хат: права частина була репрезентабельною і складалась з однієї-двох кімнат, а ліва частина була житловою і поділеною на 5-6 кімнат. Ці дві частини розділялися сіньми.

До нашого часу козацьких садиб залишилось небагато. В збережених палацах були розміщені музеї та державні установи, в деяких — житлові будинки. Та все ж, більшість з них впала в руїни або знаходяться в занедбаному стані.

Садиби в західних районах України

Постійна загроза турецького нападу спричинила особливості садиб Заходу України. Часто це укріплення з садибою, маленькі фортеці або садиби-замки на укріпленнях. Прикладами садиб-укріплень стали Олесько, Збараж, Золочівський замок, Олика (Радзівіллів), славнозвісні Підгірці (Підгорецький замок).

Виникли й барокові костели оборонного типу (костел у Старій Солі) з тих же причин.

Садибна культура на Заході України має визначні зразки як у стилі бароко, так і класицизму. За заміським типом була вибудована у місті Львів садиба і палац Бесядецьких.

Доба бароко в Україні співіснувала з декількома війнами та постійними нападами оттоманської Порти (Туреччини), яка жила загарбницькими війнами та продажем полонених. Поволі, коли небезпека вщухає, будують садиби й без укріплень. Грошей не жалкують і виникають дивні садиби із скульптурами на брамах та службових приміщеннях (Ляське 18 ст., перебудоване, Оброшино, що за проектом архітектора Юзефа Фонтана, магнацька садиба князів Сангушко (Ізяслав Хмельницька об., руїна).

Садиби доби класицизму

Перлини садиб доби класицизму має на своїх теренах і Україна. Перш за все це Вороновиця Ґрохольських (арх. Д. Мерліні, Вінницька об. збережена, нині Вороновицький музей історії авіації та космонавтики України), Микулинці графів Реїв (Тернопільська об., збережена), Серебринці (Вінницька об., руїна).

Пам'яткою світового рівня є садиба Розумовського К. Г. в Батурині (арх Чарльз Камерон, Чернігівська об., реставрована). Садиби в Тульчині та Вишнівцях найбільші за розмірами, та значно поступаються мистецьким якостям садиб в Серебринцях, Микулинцях чи Батурині.

Зразками провінційного класицизму були садиби Браницьких в Олександрії (зруйнована, існує пейзажний парк), Верхівня панів Ганьських (збережена), Хомутець Муравьових-Апостолів (Полтавська об, руїна), садиба Тор Ланге в Нападівці (Винницька об., руїна), Самчики (Хмельницька об, збережена, музей).

Досить цікавою була садиба в Рудому Селі, українське палладіанство (Київська об.). Але її дослідити не встигли за браком бажання та суцільний руйнівний стан.

Найбільш збереженими пам'ятками класицизму в України є садиби на Сході України — Качанівка Тарновського та Сокиринці Галаганів (Чернігівська об.)

 Перша — садиба Старий Мерчик (Харківська об.) Руїна недостатньо вивчена, та за мистецькими якостями належить генію в архітектурі. Автора проекту ще не встановили. Після більшовицького перевороту бібліотеку (160 примірників) останніх володарів садиби Квашніних-Самаріних вивезли (В. А. Мамуровський) і передали в Московський університет, а картинну галерею передали в Рум'янцевський музей, що існував до 1924 року в Москві.

 Друга — садиба Вишеньки Рум'янцева Петра Олександровича (збережена, нині санаторій, Чернігівська об.). Занадто складний та чудернацький план палацу в Вишеньках робить його винятком і шедевром. Лише провінційне втілення блискучого проекту дещо принижує надзвичайні мистецькі якості палацу-винятку.

Винятковість архітектури палацу добре відчувають кіномитці. Саме в садибі Вишеньки відбувались зйомки кінострічки Ю. Г. Іллєнка " Молитва за гетьмана Мазепу "

 Третя — Самчики, теж в переліку цікавих садиб. Власником був полковник Петро Чечель. Панський дім (палац)одноповерховий, в стилі пізнього класицизму (ампіру), побудований за проектом польського архтектора Якуба Кобицького. Оздоби інтер'єрів створив італійський (швейцарський?) скульптор Жан Батіст Цегляно. Багата садиба без парку — ніщо. Тому парк в садибі створив відомий на землях України (тоді в складі Російської імперії) садівник Діоніс Міклер, засновник ботанічного саду в місті Кременець, найстарішого серед ботанічних садів України.

Паркові будівлі в стилі класицизму доповнили і провінційним зразком шинуазрі — Китайським павільйоном. Вибудуваний з цегли, потинькований, прикрашений рустикацією, пілястрами, розфарбований в біло-жовті кольори, павільйон теж цілком належав би класицизму, аби не високий гнучкий дах з заокругленими кінцівками. Окрасою павільйону була скульптура Будди.

Унікальним для України залишився і інтер'єр панської оселі в стилі японізм (дракони, квіти і птахи, гейша з парасолькою, стилізації ієрогліфічних написів). Потрощені за часів СРСР оздоби вдалося відреставрувати. З 1990-х років тут музей.

 Четверта — Яготин. Палацово-парковий ансамбль графа Кирила Розумовського в Яготині належав до найкращих на теренах України.

Палац, вибудований з дерева, згорів у 1917 році і більш ніколи не відновлювався. Вирішений в формах кам'яної архітектури довгим єдиним блоком, він був вдало аранжований без зайвих колон і фронтонів. Тричастинний центр (напівротонда, головна будівля, ризаліти) були доповнені бічними галереями з великими вікнами та кінцевими павільйонами. Декор, архітектурні об'єми і форми вікон свідчили про надзвичайно якісний зразок столичного ампіру, що виник в тодішній Київській губернії. Втрата палацу Кирила Розумовського в Яготині — втрата для всього мистецтва архітектури України.

Садиби 19 століття в Україні

19 століття здебільшого — століття міст та смерті старих садиб. Але виникають і нові. Найбільші серед нових — садиба(замок) Даховських в Леськові (Черкаська об., існує), садиба Василівка генерала Попова (Запорізька об, руїна=музей).

Зажили своєї слави й садиби хірурга Пирогова (Вінницька об., музей), Шарівка Кеніга (Харківська обл.), садиба капітана Чичагова (Вінницька обл., нині школа).

Всі ознаки садибної архітектури зберегла й садиба Потоцьких в місті Одеса (курдонер, господарський палац, грот, пейзажний парк, арх. Ф.Боффо), нині Художній музей.

Цікаво, що садибна архітектура стала зразком для будівель суспільних закладів. Стара лікарня в Одесі побудована за схемою приватної садиби — курдонер, будівля, парк (арх. Тома де Томон, що працював у Петербурзі). Всі ознаки аристократичного палацу мала й будівля Присутственних місць в Харкові (арх. Ярославський Петро Антонович, 1805 р.)

Садиба барона Кеніга — Шарівка
Назва Шарівка походить від прізвища козацького полковника Шарія, що жив на початку 18 ст. Другий володар садиби (Ольховський) у 19 ст. програв її в карти німцю Христіану Гебенштрейну. Вже у 1869 р. в Шарівці були винокурня, паровий млин, палац і пейзажний парк. Після Гебенштрейна володарем став Леопольд Кеніг, що починав бізнес в Петербурзі. Пізніше побудував цукровий завод біля Шарівки і придбав садибу. Саме при ньому будівля палацу набула неоготичного вигляду. Парк при садибі, що створений на схилі у вигляді терас, опрацював садівник Георг Куфальдт, що працював над парком палацу Кадріорг в місті Таллінн. За радянських часів садиба використовувалась як туберкульозний санаторій.

Краєвиди українських садиб

Музеї-садиби
Після Жовтневого більшовицького перевороту 1917 року власники практично усіх садиб-маєтків Російської імперії вимушено покинули свої володіння. Більша їх частина була пограбована, спалена, зруйнована вщент, або перетворена у школи чи лікарні.

Див. також
 Сад
 Посадник
 Посада
 Мартиролог зниклих і знищених садиб України
 Гражда
 Город
 Дача
 Садибний провулок в Житомирі

Примітки

Література
 Іван Родічкін, Ольга Родічкіна. Старовинні маєтки України. — К.: Мистецтво, 2009, 384 с.
 Великий тлумачний словник сучасної української мови / Голов. ред. В. Т. Бусел, редактори-лексикографи: В. Т. Бусел, М. Д. Василега-Дерибас, О. В. Дмитрієв, Г. В. Латник, Г. В. Степенко. — К.: Ірпінь: ВТФ «Перун», 2005. 2-ге вид. — 1728 с.
 Злочевский Г. Д. Не праздное чудачество: Общество изучения русской усадьбы // Библиография. 1996. № 3. С. 102—112. Прил.: Список трудов членов ОИРУ (1923—1930).
 Злочевский Г. Д. Чтобы не прерывалась связь времен: (О-во изучения русской усадьбы в прошлом, настоящем и будущем) // Археографический ежегодник за 1997 г. М., 1997.
 Иванова Л. В. О воссоздании Общества изучения русской усадьбы и проблемах исследования усадьбы// Усадьба в русской культуре XIX — начала XX веков: (Материалы науч. конф. 22-24 нояб. 1994 г. Пушкинские горы). М., 1996.
 Иванова Л. В. Русская усадьба и опыт ее изучения в 1920-е годы// Русская провинция: Культура XVIII—XIX вв.: Сборник статей. М., 1993.
 Кончин Е. Авторитет в 19 лет!: [О В. В. Згуре] // Подмосковье. 1993. Сентябрь (№ 38).
 Меленевская М. Ю. Воспоминания семьдесят лет спустя // Там же. Вып. 1 (17). М.; Рыбинск, 1994.
 Бєзух Ю. В. Затишок для тіла і душі // Мелітопольський краєзнавчий журнал, 2018, № 11, с. 43-53.

Посилання
 Садиба //
 Садиба Історія української культури. За загальною редакцією Івана Крип'якевича. Київ — 2002 (за виданням 1937 року). Розділ: 3. Домашнє життя Доступ
 Замки та храми України. Самчики
 Мандри Україною. Самчики
 Музей истории Лефортово, официальный сайт, Музей усадебной культуры

Житлові будівлі
Нерухомість
Садиби
Ферми


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Shop for Staf linear rails. These guide rails are available in a wide array of lengths. Compatible with linear bearings size 12 (miniature), size 15, size 20 and size 25. Bearing blocks must be purchased separately.


text:
package player

import (
	"github.com/lean-poker/poker-player-go/leanpoker"
	"strings"
)

const VERSION = "Default Go folding player"
const MAX_RANK = 30
const JQKA_RANK = 20
const LOW_RANK = 5

func BetRequest(state *leanpoker.Game) int {

	p := state.GetPlayer()

	if p == nil {
		return 1000
	}

	if (state.IsCheckable()) {
		return 0
	}

	HoleRank := rankHoleCards(p.HoleCards)

	if (HoleRank >= 18) {
		// follow game with good hand
		return state.CurrentBuyIn - p.Bet
	}

	if (state.CurrentBuyIn > state.Pot + state.CurrentBuyIn * HoleRank || HoleRank <= LOW_RANK) {
		return 0
	}

	cards := append(state.CommunityCards, p.HoleCards...)
	switch true {
		case isFullHouse(cards...):
		case isFourOfAKind(cards...):
		case isFourOfAKind(cards...):
		case isThreeOfAKind(cards...):
			return p.Stack
		break;
		case isTwoPair(cards...):
			if (HoleRank >= JQKA_RANK) {
				// all in
				return p.Stack
			}

			return state.CurrentBuyIn + HoleRank
		break;
		default:
			return state.CurrentBuyIn - p.Bet
		break
	}

	return HoleRank
}

func Showdown(state *leanpoker.Game) {

}

func Version() string {
	return VERSION
}

func isPair(cards []*leanpoker.Card) bool  {
	if len(cards) < 2 {
		return false
	}

	return cards[0].Rank == cards[1].Rank
}

func rankHoleCards(cards []*leanpoker.Card) int {
	if len(cards) < 2 {
		return 0
	}

	card1 := rankCard(cards[0].Rank)
	card2 := rankCard(cards[1].Rank)

	return card1 + card2
}

func rankCard(rank string) int {
	ranks := "12345678910JQKA"
	return strings.Index(ranks, rank) + 1
}

/*func calcComunityCards(g *leanpoker.Game, currentBet) {

}*/


The brand new Moorhouse Drilling and Completions website is now live!
Moorhouse Drilling and Completions' annual charity raffle took place this week!
Moorhouse Drilling and Completions are proud to announce receiving registration in both ISO 9001:2008 and OHSAS 18001:2007.


text:
Moto G32 review
Motorola has introduced a lot of smartphones recently. The company now has everything from budget, mid-range to high-end smartphones. The Motorola cell phones we've tested so far have been pretty excellent. We've been testing the Moto G32 for over a week and so far it seems like a decent phone for the money.
It has an integrated 680 SoC and runs Android 12 OS. The phone has IP52 water and dust resistance. The phone also has a triple rear camera with a 50-megapixel main sensor. How did the smartphone perform in our tests? Let's find out.
Moto G32 review: Design and display
First and foremost, the design of the Moto G32 is something we really appreciated. Although it still has a plastic back, the appearance of the new Moto G smartphone is very different from the rather bland aesthetics of previous models.
The panel also makes fingerprints and smudges less obvious than they would generally be on a glossy surface. Even without the cover, therefore, the G32 does not look as neglected as it would appear. There is also a triple camera module on the back of the phone and the recognizable Moto batwing logo.
The size of the phone is quite ergonomic and someone with small hands will not have problems with the weight distribution. Our fingers landed flawlessly on the fingerprint sensor on the side of the phone, but the sensor itself is a bit slow. Along with the volume rocker, the fingerprint sensor also doubles as the power button.
The feel of the buttons is also good. Unlike the left side, which contains a dual SIM slot (can accommodate 2 SIM cards and a micro-USB card for memory expansion up to 1TB). The microphone is located on the top bezel, while the 3.5mm headphone jack, microphone, USB Type-C port and speaker grille are located on the bottom edge.
The Moto G32 also has an IP52 rating for water and dust resistance, so external protection is also taken care of.
There are thin bezels on the head, edges and chin on the front of the phone, while the bottom bezel is wider. At the top of the display is a selfie camera.
Its 6.5-inch LCD display has a 20:9 aspect ratio and a Full HD+ resolution of 1,080 x 2,400 pixels. The screen refresh rate is 90Hz and touch input is at 180Hz. During our testing, we did not notice any scratches on the display, as it is additionally protected by Panda Glass 3.
The display offers an immersive viewing experience while watching videos and playing games. The screen also feels smooth and fluid thanks to the 90Hz refresh rate. The smartphone comes with Widevine L1 support and we tested it playing HD movies on both Amazon and Netflix. Colors seem a bit washed out, especially bright reds and magentas. The viewing angle is also fine, but the maximum screen brightness is limited to 600 nits, so the display is not bright when used outdoors.
The sound capabilities of the speaker system include compatibility with Dolby Atmos. Although the speakers are loud, the sound output is not particularly good and lacks a bit of depth.
Moto G32 review: Performance and cameras
In terms of performance, the Moto G32 is powered by a Qualcomm Snapdragon 680 SoC and an Adreno 610 GPU. The phone has 64GB of internal storage with 4GB of RAM, which can be expanded up to 1TB using a microSD card.
When it comes to day-to-day use, the phone is a nice budget smartphone that is quite fast. However, navigating between apps like Instagram, Facebook, Youtube and other social media apps is a challenge, making multitasking between apps challenging.
On the gaming side, Call of Duty Mobile is playable, but not at optimal settings. Also, the phone heats up after just 15 minutes of use, so if you are a serious gamer, avoid buying this phone.
In terms of software, the G32 runs Android 12 out of the box, just like all current G-series devices. To provide a clean user interface without ads and bloatware, the company offers Android 12 with the My UX skin on top, which improves the overall experience.
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In addition, there are customization options. The G32 smartphone was promised an update to Android 13 as well as three years of security patches. Plus, you get all the moto-only features like gesture features to turn on the camera and flashlight. In addition, you also get Thinkshield, a security layer.
The Moto G32 boasts a triple rear camera setup with a 50-megapixel primary camera, an 8-megapixel ultra-wide-angle sensor and a 2-megapixel macro lens. Selfie camera with a resolution of 16 megapixels and an aperture of f/2.4.
The phone's 8-megapixel super wide-angle camera, which is unusual for a phone in this price range, is its best feature. Even many high-end and mid-range phones lack an 8MP sensor for ultra-wide photos.
In terms of performance, in good lighting conditions, photos taken by the primary camera offer a significant amount of detail. The shadows were fine and neither the highlights nor the subjects were overdone.
The inclusion of an 8MP super wide-angle camera is commendable, but when we zoomed in we saw edge distortion, faded colors and a lack of detail. However, 8MP is still better than a 5MP ultra-wide lens.
A 2-megapixel macro lens, on the other hand, is rarely useful, as you have to work very hard to get clear images even in decent lighting.
Indoor and outdoor low-light photos looked average. Selfies are good if they are taken in bright lighting, otherwise they will be distorted and out of focus.
The Moto G32 comes with a 33W fast charger that packs a 5,000mAh battery. We had good battery life with the device – more than a day and a half. Additionally, it took more than 1 hour and 5 minutes to fully charge the phone.
The Moto G32 is an ideal gadget for the average user. For around Rs 12,000, you get almost a day of battery life, a smooth 90Hz display and respectable performance for casual gaming. In addition, you have the typical three-camera setup. The Motorola smartphone offers you IP52 certification, 33W fast charging and, above all, a pure stock Android experience.
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