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Q: Combinations in a range of numbers in C++ I would like to build a C++ program that show all the possible combinations depending on the number of elements taken by a N factor.
Let's suppose a vector vec[6] with elements 1 2 3 4 5 6 on it.
Using the combination formula, 6! / 4! (6 - 4)! = 15 possibilities
I want to  generate a function which gives the result of all 15 possibilities taken 4 by 4 with no repetition, as example:
1 2 3 4
1 2 3 5
1 2 3 6
2 3 4 5
and so on...
I am using this code for now, but i want to use numbers from my vector (v[6]).
#include <algorithm>
#include <iostream>
#include <string>

void comb(int N, int K)
{
    std::string bitmask(K, 1); // K leading 1's
    bitmask.resize(N, 0); // N-K trailing 0's

    // print integers and permute bitmask
    do {
        for (int i = 0; i < N; ++i) // [0..N-1] integers
        {
            if (bitmask[i]) std::cout << " " << i;
        }
        std::cout << std::endl;
    } while (std::prev_permutation(bitmask.begin(), bitmask.end()));
}

int main()
{
    comb(6, 4);
}

Would you please guys give me a help? I'd like to know where i could change the code so that i can use my own vector.
i'm generating this vector v[i] and sorting it with a bubble sort, like this:
void order (int d[], int n){
    int i, j;
    for (i = 1; i < n; i++)
        for (j = 0; j < n-1; j++)
            if (d[j] > d[j+1])
                swap (d[j],d[j+1]);

    for (i = 0; i < n; i++)
        cout << d[i] << " ";
}

after that sorting, i want to put my vector into the comb function.
how could i make it is possible?

A: Here's a C++14 solution that uses a free, open source library to do the work:
#include "combinations"
#include <iomanip>
#include <iostream>
#include <vector>

int
main()
{
    std::vector<int> v{1, 2, 3, 4, 5, 6};
    int state = 0;
    for_each_combination(v.begin(), v.begin() + 4, v.end(),
        [&state](auto first, auto last)
        {
            std::cout << std::setw(2) << ++state << " : ";
            while (true)
            {
                std::cout << *first;
                if (++first == last)
                    break;
                std::cout << ' ';
            }
            std::cout << '\n';
            return false;
        });
}

This outputs:
 1 : 1 2 3 4
 2 : 1 2 3 5
 3 : 1 2 3 6
 4 : 1 2 4 5
 5 : 1 2 4 6
 6 : 1 2 5 6
 7 : 1 3 4 5
 8 : 1 3 4 6
 9 : 1 3 5 6
10 : 1 4 5 6
11 : 2 3 4 5
12 : 2 3 4 6
13 : 2 3 5 6
14 : 2 4 5 6
15 : 3 4 5 6

The source code for the library can be copy/pasted from the above link and inspected for how it works.  This library is extremely high performance compared to solutions using std::prev_permutation.  The implementation is relatively simple for this function, but the library also contains more functionality that grows increasingly complicated to implement (but just as easy to use):
template <class BidirIter, class Function>
Function
for_each_combination(BidirIter first,
                     BidirIter mid,
                     BidirIter last,
                     Function f);

template <class BidirIter, class Function>
Function
for_each_permutation(BidirIter first,
                     BidirIter mid,
                     BidirIter last,
                     Function f);

template <class BidirIter, class Function>
Function
for_each_reversible_permutation(BidirIter first,
                                BidirIter mid,
                                BidirIter last,
                                Function f);

template <class BidirIter, class Function>
Function
for_each_circular_permutation(BidirIter first,
                              BidirIter mid,
                              BidirIter last,
                              Function f);

template <class BidirIter, class Function>
Function
for_each_reversible_circular_permutation(BidirIter first,
                                         BidirIter mid,
                                         BidirIter last,
                                         Function f);

The library has several pleasant features including:

*

*Your input sequence (vector or whatever) need not be sorted.

*You can prematurely break out of the loop at any time by returning true.

*If you don't break out of the loop early, the sequence is always returned to its original state.

*The functor always receives iterators to the first k elements of the sequence, so it is possible to also operate on the elements not selected if you tell the functor about the total length of the sequence.

Feel free to use the library as is, or study and take what you need from its implementation.  The link above contains a tutorial-like description, and a detailed specification of each function.

A: Start with subset S = {1,2,3,...,k}, that's the first subset.  Generate the next subset by examining elements from the right (start with the last), and increment it if you can (if it is < N), and return that as the next subset.  If you can't increment it, look at the element to the left until you find one you can increment.  Increment it, and set the elements to the right sequentially from that point.  Below are the 3 element subsets of {1,2,3,4,5} (N=5,k=3,there are 10 subsets):
{1,2,3}, {1,2,4}, {1,2,5}, {1,3,4}, {1,3,5}, {1,4,5}, {2,3,4}, {2,3,5}, {2,4,5}, {3,4,5}
#include <iostream>
#include <vector>

std::ostream& operator<<(std::ostream& o, std::vector<int>& a)
{
    o << "{";
    for (std::vector<int>::const_iterator it = a.begin(); it != a.end(); ++it) {
        o << *it;
        if (it + 1 < a.end()) o << ",";
    }
    return o << "}";
}

int main()
{
    const int N = 7;
    const int k = 4;

    std::vector<int> A(k);

    // initialize
    for (int i = 0; i < k; ++i) {
        A[i] = i + 1;
    }

    std::cout << A << std::endl;
    int h = 0;
    bool done = false;
    do {
        ++A[k-h-1];
        for (int t = k - h; t < k; ++t) {
            A[t] = A[t-1] + 1;
        }
        if (A[k-h-1] < N - h) {
            // last element can be incremented, stay there...
            h = 0;
        } else {
            // last element at max, look back ...
            ++h;
        }
        done = (A[0] == N - k + 1);
        std::cout << A << std::endl;
    } while (!done);
}

A: Pretty simple recursive implementation:
struct Combs
{
    vector<int> scombs;

    template <typename F>
    void call_combs(int n, int k, F f)
    {
        if (k == 0) {
            f();
        }
        else {
            scombs.push_back(n - 1);
            call_combs(n - 1, k - 1, f);
            scombs.resize(scombs.size() - 1);
            if (k < n) {
                call_combs(n - 1, k, f);
            }
        }
    }
};

...

    Combs combs;
    const auto& coco = combs.scombs;
    combs.call_combs(6, 4, [&coco](){
        copy(coco.cbegin(), coco.cend(), ostream_iterator<int>(cout));
        cout << endl;
    });


Boston : Printed by Isaiah Thomas and Ebenezer F. Andrews, 1796.
Music in churches--History and criticism., Bibliography, and Church music--History and criticism.
Hartford : printed by Hudson & Goodwin, 1796.
Philadelphia : Printed by Henry Tuckniss, 1796.
Protestantism and Robinson, Robert, 1735-1790.
London : Printed for G. G. and J. Robinson, 1796.
Edinburgh : Printed by John Paterson, 1796.
London : Printed for A. Strahan, and T. Cadell, 1796.


To help industry better understand some of the key concepts around marketing, the Queensland Seafood Marketers Association (QSMA) this year organised and ran the first Seafood Marketing Symposium: 'Whole Chain – from water to waiter'.
The event acknowledges that marketing is more than simply coming up with an advertisement.
The symposium was held on Friday 30 June 2017 at Rydges South Bank in Brisbane prior to the Queensland Seafood Industry awards night and celebrations. Linking the two events worked well, with more than 60 people at the symposium and 80 at the state awards dinner.
Scott Spencer, deputy director-general fisheries and forestry, Queensland Department of Agriculture and Fisheries, outlined the value of the fishing industry to Queensland in his opening address. He also spoke of the work underway to improve Queensland's fisheries.
He outlined the importance of language when communicating with consumers and stakeholders and how this can have an impact on the perception of seafood and the industry as a whole.
For example, he said the industry describes the catch in tonnes, but no one eats seafood in tonnes; they eat meals. Using words that the consumer can relate to places seafood in the centre of their experience, demonstrates how it is part of life, rather than as some inexplicable, remote or industrialised process.
John Connelly's other key message was the important role fisheries managers have in educating the community about the sector, a message reinforced by the findings of the FRDC's recent community perceptions survey (see Familiarity breeds positive perceptions).
He advocated a simple flow of news and information about fisheries management to the community. He said communicating about the management of fisheries would be of benefit to everyone – including fisheries managers. Diverse players from the sector featured strongly with eight presentations at the symposium from fishers, processors, retailers and marketers. All presentations can be viewed online at the Queensland Seafood Marketers Association website.
FRDC executive director Patrick Hone says the symposium showed the effort and rigour being applied to improve local and national marketing issues around Australia, and several presentations used FRDC research to inform their marketing approach.
"If only two companies leave the symposium and do something different, then the symposium will be a great success," Patrick Hone said.
QSMA president Marshall Betzel said positive feedback from delegates indicated that presentations on the day were particularly informative.
He says the symposium brought key participants in the value chain together to present their points of view and processes to others.
Another marketing symposium has been proposed for next year and the QSMA plans to discussion the potential for similar events in other states.


text:
Q: A reference to infinite version of the Sunflower Lemma Please help me to find a proper reference to the following infinite version of the Sunflower Lemma.

Lemma. Let $n\in\mathbb N$. Every infinite family of $n$-element sets contains an infinite subfamily $\mathcal F$ such that $A\cap B=\bigcap\mathcal F$ for any distinct sets $A,B\in\mathcal F$.

Browsing through Internet I could find only finite and uncountable versions of the Sunflower Lemma (but not the countable one).

A: I found it in the book Komjáth, Péter; Totik, Vilmos, Problems and theorems in classical set theory, Problem Books in Mathematics. New York, NY: Springer (ISBN 0-387-30293-X/hbk). xii, 514 p. (2006). ZBL1103.03041. It's stated on p. 107 as the first item in the chapter on $\Delta$-systems:

*

*An infinite family of $n$-element sets ($n\lt\omega$) includes an infinite $\Delta$-subfamily.

A proof is given on p. 421. No reference is given.

redpajama_set_name: RedPajamaStackExchange


FOAM Photo Museum in Amsterdam has just opened it's latest summer exhibition 'Photography in the Capitol of Cool' featuring over fifty iconic Duffy images. The thematic group show immerses visitors in the dazzling London of the sixties, an era bursting with possibilities. The presentation touches upon all of the remarkable developments in and around photography at the time: fashion, celebrities, music, magazines, design and social change. In the exhibition, Foam brings together the work of iconic photographers of the sixties – who in their heyday were often as famous as the stars in front of their cameras. Featuring work by Terence Donovan, Brian Duffy, John French, Norman Parkinson, James Barnor, John Hopkins, John Cowan, Eric Swayne and Philip Townsend. Read more from FOAM website. Read Guardian news feature. Read Telegraph news feature.


John Ross was dispatched to Latin America in the early 1980s, first as Latin American bureau chief for the Pacific News Service, and then as correspondent for the San Francisco Examiner and other Hearst papers. In 1984-85, Ross was commissioned by PNS to report on guerrilla organizing in Andean regions ranging from Colombia to Chile and wrote some of the first pieces on the Shining Path ("Sendero Luminoso"), the Peruvian Maoists. Ross was returned to Mexico City on the heels of the great September 1985 earthquake, writing extensively on the social impacts of that catastrophe. He has remained in the Mexican capital as correspondent for ten distinct publications, including Noticias Aliadas (Lima), Gemini News Service (London), "El Universal" and "El Financiero" in Mexico City, The San Francisco Bay Guardian, The Los Angeles Weekly and The National Catholic Reporter.
John Ross was one of the first foreign reporters on the scene during the January 1994 uprising of the Zapatista Army of National Liberation in southeastern Mexico and was subsequently contracted by Common Courage Press to write Rebellion From The Roots: Indian Uprising in Chiapas, a volume which won the 1995 American Book Award and was lauded by reviewers.
Ross also wrote the introduction to Shadows of Tender Fury, the Monthly Review Press volume of translations of the writings of the Zapatistas' Subcomandante Marcos, and is among the contributors to First World Ha Ha Ha, a City Lights collection of writings on the Zapatista phenomenon.
John Ross was awarded the 2005 Upton Sinclair Award (an "Uppie") by the San Pedro California chapter of the American Civil Liberties Union for his latest cult classic Murdered By Capitalism—A Memoir of 150 Years of Life & Death on the U.S. Left.
You can find an extensive amount of articles that John Ross regularly submits to Counter Punch Newsletter.
I wrote this novel for revenge, mostly. Justice demanded it. The novel was begun in 1990 after many months on the road with Cuauhtemoc Cardenas as he pursued the presidency of his country and was ultimately cheated of it. At the time, the Salinas' gang occupied my vitriol. Tonatiuh's People has been rewritten several times since to accommodate political realities-the book had an uncanny aptitude for coming true. At each juncture, the text seemed to prophesy what later would be confirmed as fact. To stay ahead of the curve, I was forced to project further and further into the future. Today, the revenge motive is more structural. History has taught me true contempt for the rulers of Mexico-and deepened my faith in its peoples' ability to make a real revolution.
Reporter and poet John Ross wrote his first and only novel, Tonatiuh's People in anticipation of the election that made Carlos Salinas the president of Mexico. Although it is fiction, his novel foretold many of the events that followed that election. Recent events in Mexico are finding new readers for this fast-paced tragicomedy.
John Ross reports and promotes from the D.F.


I've long been an admirer of Mary Corbet. Her hand embroidery is so lovely and her friendly style of explaining her techniques keeps me reading her blog, Needle 'n Thread, on a daily basis.
And today I want to thank Mary for her kind review of my new book, Joyful Stitching: Transform Fabric with Improvisational Embroidery.
You can see her review here: Joyful Stitching Book Review Thank you Mary for your inspiration and encouragement!
This entry was posted in book, Joyful Stitching book by Laura. Bookmark the permalink.


The use of the storytelling narrator is frequently engaged to establish historical context in film-making. From the extremes of the 1919 Cabinet of Dr. Caligari through Conan the Barbarian to Woody Allen's Another Woman, viewers are kept consciously aware that they are involved in a story. As Bruner (1986) points out, narrative is one of the two ways we make sense of our world. The features of the story and their importance to us as viewers are nowhere more evident, however, than in a piece of story-telling from the 1971 Australian film, Walkabout. Coincidentally presenting an unlikely wealth of Australian animals during the trek, the sequence clearly illustrates both the complexity and the fundamental value of the story to children of all ages.
In the storytelling sequence of Walkabout, a young aboriginal boy who speaks no English is leading two English-speaking white children, whom he has found lost and close to death, through a lush tropical wilderness, presumably back to civilization.
The aborigine [about 15 years old] leads while the smaller boy [age 10] darts back and forth talking and the teenage sister [also about 15] follows. The white boy is telling a story and, both we as viewers and the older sister presume, the aborigine is listening uncomprehendingly.
But what is really occurring? As we watch, we see the aborigine apparently enjoying the story. Similarly, the excitement and enthusiasm of the storyteller is evidenced. And the older sister? Regardless of her insistence that the storytelling is "a waste of time", she assumes the role of the elder and corrects the details of the story being told. Her intrusion seems, superficially, to be as futile as the storytelling itself but she is, nevertheless, listening intently and critically.
This episode from the film illustrates several points which, I suggest, we often overlook - as parents and, more particularly, as educators. We presume that because the intended recipients of a story cannot decode the language of the story, they are, somehow, impervious to the story itself. If this were the case then we could equally presume that, since babies do not speak English, as we understand it, we need not speak to babies. The patent misconception of this line of thinking has been thoroughly illustrated by numerous researchers from Chomsky (1975) and Halliday (1975) to Heath (1983) and, Berry & Berry (1990) and would need no further consideration if it were not for the fact that the belief tends to be reserved, in many people's minds, for babies. The aborigine in Walkabout is a "baby" only in his comprehension of the English language. Few would suggest that he is a baby in terms of hearing stories - of listening for sense, if not meaning, and of interpreting tone to establish content.
The meaning of the story told by the white boy, complete with its inaccuracies (and corrections), is clear and interesting to the aborigine as we see him. He has learnt, long since, to attach meaning to sound and he has learnt, as Applebee (1978) would observe, the structure of the story - how stories go. He copes with the complexities of the plot and, together with the descriptive asides, he recognises rising and falling action, takes interest in the amendments and waits patiently through interruptions for the continuance. He is as familiar with oral story-telling as, one hopes, is every baby - regardless of its background.
The role of the story-teller's sister is more complex. She is at once an overseer of the heritage from which the story is drawn and a listener - though even as a listener her role is equivocal. I shall return to this point in due course.
permits no play with its borders, no gradual and flexible transitions, no spontaneously creative stylizing variants on it.
Having been presented with a story, the girl assumes the power of the red pen (cf. Graves, 1983) and slashes wilfully at every deviation with scant regard for the effect of her guardianship on the transmission of the story itself. Fortunately, both storyteller and listener are made of sterner stuff and they transcend the interruptions.
As keeper of the cultural heritage, the white girl commands and achieves control over the detail of the story. Her efforts to control the audience to whom the story is delivered are less successful, however. While insisting that the aboriginal boy cannot understand the story, she nevertheless allows the story to be told. In a more secure, more censorious environment, she may have even been able to control permission to tell the story (Heath, 1983). Teachers faced with a well-written but inappropriate story will, no doubt, identify readily with her dilemma.
The girl's role as listener is, as previously noted, equivocal. She is, simultaneously, keeper of the cultural heritage, censor, social arbiter and secondary audience. The roles of keeper and censor are essentially elder roles; determination of what is appropriate and exercise of authority. The role of social arbiter, while it is akin to that of censor, requires less sophisticated knowledge and may be illustrated in the difference between the choice of a book by a parent and the same choice by a teacher (the comparison is superficial but it suffices to demonstrate the perceived difference in gravity of the choice). The young girl listening to her brother's story not only corrects it for detail but she makes decisions as to what is important and what is not. More particularly, she makes decisions about what the intended audience, the aboriginal, will understand. In focusing upon content rather than structure, she performs a delightful double-think wherein she judges that there is no point in telling the story because the boy knows no English and, within this apparently practical framework, that he will understand some things less than others (e.g., "He doesn't know what a ladder is."). Her resulting advice to her brother that there is no point in explaining some - rather than other - complex issues and concepts is accepted uncritically by the storyteller who, generally though not always, acquiesces in the wisdom of her viewpoint. His interest appears to lie in the structure of the story, in the import of inflection, in the connotative power of lexicon, in the impact of the telling.
In her fourth major role - as listener - the girl is seen as a secondary audience, a resource to be turned to for verification of story ("Isn't that right?", "Didn't he?"). In this regard, it is essential not only that the girl be listening to the story but that she be more surely versed in its intricacies than the storyteller. The child turning to the adult/teacher for assistance in performing any unfamiliar function expects the adult to be attending to the performance, so must the girl attend as adult/teacher to her young brother's narration. She must not only be listening for immediate content accuracy but she must have an overview of the story which will permit her assistance when required.
The role of the boy as storyteller is, in many ways, the most complex, despite his youth. It is noteworthy that his actual 'telling' of the story is neither disputed nor even commented upon. Some of the reasons for his telling are quite obvious and require little amplification: he is bored; he is frightened of the bush; he enjoys the feel, the structure of stories, even if he has to tell them himself; he wants to show off to his new friend, the aboriginal. Of greater complexity are the opportunities afforded by the situation in which the events occur: there are no real adults present - he recognises that white, urban society still prefers to see rather than hear young children; the audience for his story is usually limited to people of his own age so there is no opportunity for re-telling; oral stories carry much more potential for interpretation and embellishment than written stories. No doubt more possibilities exist but these, at least, show both desire and willingness to enter into the adult world, the world of literature, in a real and meaningful way.
Children, perhaps adults too, are seldom placed in the ideal storytelling situation described here. Their audience is seldom an attentive adult. Instead, young children with the desire to tell stories, to join with their adult peers in literature must provide their own audience. Sometimes the young child reads to and tells stories to a row of dolls, sometimes to an invisible (maybe imaginary) friend - sometimes to the cat. Applebee (1978), Boomer and Spender (1976), Crago and Crago (1983), Heath (1983) and Berry & Berry (1990) provide an even wider sample of story-telling sites. At other times, mother or father becomes the audience. These latter audiences are volatile, however, and best engaged when otherwise occupied (favoured times include during cooking or with head under hood of car). The young story-teller of Walkabout is presented with a prize audience - an adult who listens attentively and a second adult who can be utilized as both editor and resource.
From the viewpoint of the reading educator, a number of compelling observations must arise from any consideration of the story-telling process but the most significant is that it is not the story which is the most important aspect of story-telling. A story can only be told if there is a story-teller and an audience. At a literary level, the storyteller is usually seen to be the author; the reader is the audience and, as Meek (1988) has pointed out, the real story occurs in the inter-text (which operates between the lines, between author and reader, and which is deeply personal).
It is at this inter-textual level, of course, that the storytelling process either works or fails and at which its full complexity is revealed. The relationship between author/storyteller and reader is developed, as Goodman (1976) postulated, on the basis of a depth of shared experience - "Can you remember where the hay-stack used to be?" but it continues to develop only when the audience agrees to accept the storyteller's story, to share the story with its teller, "Well, about 100 yards south of that hay-stack there was a magic wishing tree.". Once we have accepted a girl falling asleep under a tree (a shared experience) we must accept that she can fall down a rabbit hole - after that, all things become possible - if the story-teller is resourceful enough. But the example of story-telling from Walkabout delineates the nexus between story content and story structure, between literal meaning and emotional meaning.
At a literary level we understand, increasingly, how and why reading is important, how storying is important. What we still have little comprehension of is the primacy of early storying if later development is to occur. The work of Boomer and Spender (1976), Clark (1976), Applebee (1978), Trelease (1984) and, more recently, Berry (1992) strongly suggests that storying, how a story is, begins very early in a child's emotional development, in the pre-speech stage at least when emotional meaning is more important than literal meaning. But it is the determined work of such writers and researchers as Chall (1967), Chan (1974), Meek (1982) which has initiated exploration of possible mechanisms by which this might occur.
A young baby in a nursing mother's arms usually learns quickly to associate mother with food. The knowledge is rapidly expanded to include the identification of mother's voice with the immediacy of food. Mother, through the agency of her voice, represents a source for the removal of discomfort (hunger in this case) even before the baby can properly focus its eyes to receive an accurate image of her. This initial association of voice with comfort seems to establish the primary relationship of speaker to audience which is also fundamental to the success of the story-teller. It is not primarily a question of what the story is but how the story is which arms it with meaning - a case clearly and amusingly exemplified by Tom Selleck in the generally forgettable Three Men and a Baby when he reads an account of a title fight from Sports Illustrated to the baby as a soothing bed-time story ("...it's not the story they listen to, it's the tone of voice").
As the comforting, caring adult/parent continues to nurture the developing infant, the rules for storying are further established. While adult/parent works, baby is present. Adult talks to baby, holds baby, reads to baby. The adult/baby bonds are established through the agency of the adult voice while tonal variation rather than specific content determines early comprehension. Ausubel's (1968) reference to the "scripts" which permit schematic association of apparently disparate events provides a useful basis for explanation of early story apprehension. The confusion of the American researcher Lucinda Boggs in 1905 "that children ... to twelve years of age read nonsense text almost as rapidly as significant texts" should provide us with little reason for surprise if we accept the way in which bonding develops - and we need express little concern at the longevity of this apparently futile ability if we recognise that schema extinction implies extinction of a thought process (Rumelhart, 1980).
Once the adult/baby bonding has been established- through the agency of the adult's ability to remove discomfort - the characteristics which establish readership become identifiable. If the adult is a reader then the only slightly more complex but infinitely more important adult/book/baby bonding may be established. The voice of the nurturing adult, the comfort provided and the presence of the book become an inseparable schematic triad (Bechervaise, 1988), the presence of any two parts of which may evoke the presence of the third. And if this triadic bonding with books is established during babyhood then the baby has achieved (or been awarded!) the fundamental first criterion for literacy discrimination - stories are for enjoying.
The storytelling sequence from Walkabout presents a largely unintentional demonstration of the power of storying to evoke enjoyment as a response to narrative. The roles played by active listeners and powerful storytellers are clearly delineated in the obvious and enthusiastic comprehension of the aboriginal boy and the continued insistence of the storyteller's sister that "He can't understand". The nature of the bond which is established between the storyteller and his primary audience is paralleled in the development of the bonding between mother and child when books are first introduced into a baby's environment.
When the role of storytelling is so obvious that it even appears in films then our pale yet ongoing arguments about the value of narrative storying must fade with the literary dawn.
Applebee, A.N. (1978) The Child's Concept of Story: Ages Two to Seventeen. Chicago, Ill: University of Chicago Press.
Ausubel, D.P. (1968) Educational Psychology: A Cognitive View. New York: Holt, Rinehart and Winston.
Bechervaise, N.E. (1987) "Discrimination Can't Be Taught", English in Australia. 81, 44-54.
Bechervaise, N.E. (1988) The Reader and the Family. Unpublished Ph.D. thesis, Monash University.
Berry, M. & Berry, M. (1990) "The Use of Narrative in Dramatic Contexts for Educational Settings", N.A.D.I.E. Journal , 15,1,45-47.
Boomer, G. and Spender, D. (1976) The Spitting Image: Reflections on Language, Education and Social Class. Melbourne: Rigby.
Chall, J. (1967) Learning to Read: The Great Debate. New York: McGraw Hill.
Chan, J. (1974) Why Read Aloud to Children? An I.R.A. Micromonograph. Newark, Del.: International Reading Association.
Chomsky, H. (1975) Reflections on Language. New York: Pantheon.
Clark, M.M. (1976) Young Fluent Readers. London: Ward Lock.
Crago, H. and Crago, M. (1983) Prelude to Literacy: A Preschool Child's Encounter with Picture and Story. Carbondale, Ill.: Southern Illinois University Press.
Goodman, K. (1976) "You Can Get Back to Texas Anytime You're Ready, Dorothy", N.C.T.E. Newsletter No.4, A.C.T.: A.I.P.
Graves, D. (1983) Writing, Teachers and Children at Work. Exeter, N.H.: Heinemann.
Halliday, M.A.K. (1975) Learning How to Mean: Explorations in the Development of Language. London: Edward Arnold.
Heath, S.B. (1983) Way with Words. Cambridge: Cambridge University Press.
Meek, M. (1982) Learning to Read. London: Bodley Head.
Meek, M. (1988) How Texts Teach Way Readers Learn. Great Britain: Thimble.
Rumelhart, D.E. (1980) "Schemata: The Building Blocks of Cognition". In R.J. Spiro, Bruce, B.C. and Brewer, B.R. (Eds.), Theoretical Issues in Reading Cognition. Hillsdale, N.J.: Lawrence Erlbaum.
Trelease, J. (1984) The Read-aloud Handbook. Harmondsworth: Penguin.


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1. [Bookplate for Emil Eerme and A. Lavdovsky by A. Gastmans] In black ink, abstract image of what appears to be a highway interchange network surrounded by a sketched triangle. The triangle forms the point of an arrow shape, and the text appears on its tail. There appears to be signature (possibly of the artist), but it is unreadable.
2. [Bookplate for Atkinson] In black ink, this bookplate consists of a pheon (an arrow with a flat barbed head, thrown from a cross bow) proper atop a straight wreath, which sits upon a strung curtain.
3. [Bookplate for Edgell Wyatt-Edgell] In black ink, this bookplate consists of an escutcheon divided quarterly, and containing an inescutcheon. The first and forth quadrants of the escutcheon are sable (black) with a fess, dancette and argent (silver), three eagles displayed, two over one and or (gold), and chief, or. The second and third quadrants are argent, with a sable chevron containing three roundlets bezant (gold), and cinque foil, two over one and gules (red). The inescutcheon is checky, or and gules, and contains a lion rampant guardant. Atop the escutcheon is a dexter helmet, closed with mantling flowing horizontally from its top. Above the mantling are two further crests. The dexter consists of a demi-lion rampant, embattled in or and sable, on a wreath, holding an inverted arrow in its dexter paw. The sinister crest consists of a demi-lion rampant on a wreath, holding the long stem of a cinque foil, gules, in both its paws. Below the escutcheon is a banner containing the Latin motto.
4. [Bookplate for George Harrison] In black ink, an escutcheon, or (gold), with a cross azure (blue), charged with four pheons proper. At the fess point is an inescutcheon, argent (silver), charged with a chevron pupure (purple), between three doves, two over one. Wreath crest with a cubit arm habited grasping an arrow.
5. [Bookplate for P. Mackenzie] This simple heraldic bookplate consists of a cubit dexter arm clutching a downward-pointing arrow. Above the image is a banner with Latin motto within.
6. [Bookplate for G Wirthrich] In black ink. Decorated escutcheon is parted per fess. Top, gules (red), a man cut off at the hips, bearded, with a downturned arrow in his right hand, a club in his left, a rapier in his mouth, and wearing a rounded hat. Bottom, azure (blue), a battle-axe and a club crossed. Supporters, two gryphons combatant with arrowed tongues standing on stairs. Above the escutcheon is a ducal coronet.
7. [Bookplate for J. W. Dunbar Moodie] Escutcheon divided per quarterly. Dexter chief and sinister base display three ships in full sail on azure (blue), below a tower over background gules (red). Sinister chief and dexter base display three arrow heads, argent (silver) on an azure base, with a hunting horn above a chevron, ermine. Above the escutcheon is a vizored helm with a naval coronet ; above that is a lion, passant guardant, holding a flag. The motto is inscribed in a scroll above the lion.
8. [Bookplate for Waters by Adams] In black ink on white paper, an Escutcheon quartered per cross. The dexter chief and sinister base sections each consist of an azure (blue) saltier on argent (silver) ; the sinister chief and dexter base quarters are composed of a saltier argent on azure. The crest is a demi-talbot rampant, an arrow in its mouth, upon a wreath. Below the Escutcheon is a banner bearing the motto, 'TOUJOURS FIDELE.'.
9. [Bookplate for Henry James Grasett] Black ink on cream paper. Crest features bow loaded with arrow aimed to the left. Feathers stretch outwards on either side of the base of the bow on a crest-wreath. Shield is argent and sable per saltire, divided with a sable cross. Top and bottom quarters are argent charged with a plant with round top and brush head. Feathery leaves appear at either side of the base. Top feature has two sable stylized decorations featuring roundels three over two atop three lines connected at the top that separate outwards at the bottom. Four of the same decorations are featured in the bottom quarter. Left and right quarters are sable charged with five point stars and a stylized design element similar to those in the top and bottom quarters, but thicker and in argent. The shield is surrounded by a stylized border decorated with various curls. Below the shield, the motto is written in capitalized block letters on ribbon with elaborately curled blackening ends.
10. [Bookplate for Edward Hale] Black ink on cream paper. Crest features a snake in an S shape foregrounding 5 arrows, each pointing down towards the crest-wreath. The central arrow points straight down, while the two on both the left and the right are angled inwards. The shield has horizontal sable stripes charged with a chevron counter-embattled decorated with sable dots. Elaborate curling leaf-life ribbons extend from the base of the chevron along the side of the shield. The bookplate owner's name is written in black, sentence case, cursive font below the shield. The owner's first name was been abbreviated from Edward to Edwd, with the d in superscript.
11. [Bookplate for Edward Feild Hebden by H. A. W.] Black ink on cream paper. Crest features a lion passant on a crest-wreath. Below the crest is a gentlemen and esquire's helm with elaborate, ribbon-like, mantling extending out and down the entire bookplate. The shield is argent and divided quarterly. The top left corner and bottom right corner are charged in the center with 5 black diamonds. The background pattern features a repeating geometric of three dots atop an arrow with three flared out points at the bottom. The top right corner and the bottom left corner are charged with a cross patonce. Below the shield is a ribbon with a larger section foregrounded and a smaller section closer to the bottom of the bookplate. The motto is printed on that small section in capitalized, sans-serif font. The bookplate owner's name is printed on the foregrounded section in larger capitalized serif font. Below the ribbon is small text printed in sans-serif font.
12. [Bookplate for Thomas Nickleson Jeffery by C. W. Torbett] The armorial bookplate features a coat of arms. The escutcheon (shield) appears to be the impalement, or combining, of two distinct coats of arms into one shield. The dexter (right) shield is quartered: the repeated pattern features naiant (swimming) dolphins in an azure chevron between three leopard faces ; roses in a divided field of ermine (white with black tincture) and erminois (gold with black tincture) ; and a pheon (barbed arrow head) over an embattled field of sable and azure. Sinister (left) is a lion passant (lion depicted facing and walking to the left), which appears to be the shield of Jeffrey's family through marriage, the Uniackes. Above the shield is a crest featuring a tree and a leopard with a horizontal anchor under its paw. Below the shield is a motto.

redpajama_set_name: RedPajamaCommonCrawl


If you have been convicted of committing a drug offense, you are probably nervous you will be sentenced to time in jail or prison, among other penalties. While it's true that some drug offenders are incarcerated for their crimes, others are able to avoid going to jail or prison by serving an alternative sentence. Depending on the circumstances of your case, as well as your prior criminal history, you may be eligible for alternative sentencing.
Alternative sentencing gives drug offenders the opportunity to attend rehab or a drug treatment program instead of serving time in jail. If you successfully complete a drug treatment program then you will not be sent to jail. Sometimes you can even avoid conviction if you successfully complete a drug treatment program. The theory behind alternative sentencing is that if you rehabilitate and help a drug offender overcome his or her addiction or reliance on drugs, then he or she will be less likely to commit a drug crime in the future.
According to our Canton DUI Attorney Michael Vereen III, in the state of Georgia, there are multiple types of alternative sentencing options available to those who qualify. To qualify for alternative sentencing, you must be facing charges for a first or second offense. The type of crime in question also comes into play. Serious offenses usually do not qualify for alternative sentencing. Furthermore, if you committed a non-violent drug offense then are also likely to qualify.


text:
Бабу́к-Ау́л () — заброшенное село, к моменту своего упразднения находившееся в составе Солохаульского сельского совета городского округа Сочи Краснодарского края.

Ныне на месте заброшенного села находится одноимённый кордон и метеостанция Кавказского заповедника. Здесь проходит часть «Эколого-туристического маршрута 1», ранее известного как Всесоюзный туристский маршрут № 30.

География

Село расположено в верховьях бассейна реки Шахе на платообразном междуречье рек Беюк и Бушуйка у юго-восточного подножья хребта Позднякова в 23 км к северо-востоку от села Солохаул и в 62 км от Центрального Сочи. В 5 км к северу от села находится урочище Хуко (где находятся одноимённые гора и озеро), в 10 км к северо-востоку перевалы Черкесский и Белореченский, которые выводят на северный склон Главного Кавказского хребта, а также урочище Лунная поляна (на которую ранее планировалось построить канатную и автомобильную дороги). На современных картах приют Бабук-Аул находится южнее.

Средние высоты на территории заброшенного села составляют 707 метров над уровнем моря. Абсолютные высоты достигают 1500 метров.

Климат переходный от субтропического к умеренному. Большое влияние на климат местности оказывает близость Главного Кавказского хребта, усиливающий континентальность. Среднегодовая температура воздуха составляет около +11,0°С, со средними температурами июля около +21°С, и средними температурами января около +4,0°С. Среднегодовое количество осадков составляет около 1600 мм. Основная часть осадков выпадает в зимний период.

Этимология
В основе топонима мужское имя Бабук. Село названо в честь Хаджи Бабуко (Хаджи Бабуко Алим-Гирей), представителя знатной убыхской фамилии Берзек, жившего здесь в 1860-х годах.

История

До XIX века на месте села находилось смешанное убыхо-абадзехское поселение, возглавляемое родом Бабуков и получившее в русских источниках XIX века название Бабуков Аул.

В середине XIX века по территории села проходила Убыхская кордонная линия — так называемая последняя линия перехода Кавказской войны. В 1864 году здесь же Хаджи Бабуко изъявил покорность русским войскам для предотвращения разорения своего аула. Однако после завершения войны всё местное население в результате мухаджирства было переселено в Османскую империю.

С 1860-х годов местность, лежащая выше слияния рек Беюк и Монашка, была известна как урочище «Бабук-Аул», где находились развалины замка Алим-Гирея, а также сады, пашни и пастбища. Есть данные, что ранее здесь добывали медную и железную руды.

До конца XIX века урочище было заброшенным и заросло лиственным лесом. В 1897 году здесь был основан переселенческий посёлок, а в 1910—1911 годах казаками-некрасовцами было основано село Некрасовка. Они занимались земледелием, выращиванием зерновых и овощей, охотились. Село имело одну улицу длиной в 850 метров и с 68 дворами с однотипными домами. Село Бабуков Аул было зарегистрировано 1 января 1917 года в составе Сочинской волости Кубано-Черноморской области.

С 30 июня 1920 года по 18 мая 1922 года находилось в составе Туапсинского отдела Кубано-Черноморской области. Потом перешло в ведомость сначала Черноморского округа, затем Шапсугского национального района, а затем Лазаревского района Краснодарского края.

К началу 1920-х годов некрасовцы ушли из села, и их заменили семьи Деникинской армии, спасавшиеся от советской власти. Они тоже занимались земледелием, жили одной общиной в 68 дворов. В начале 1930-х годов чекисты вынудили их покинуть село. Вскоре село было преобразовано в колхоз «Трудовой путь», который заселили переселенцы из Украины, появилась коммуна «Заря гор» численностью несколько десятков человек, переселившихся из соседнего села Солохаул. Но село постепенно пустело из-за его удалённости от побережья и отсутствия инфраструктуры. В 1937 году колхоз распался. После Великой отечественной войны здесь существовал филиал совхоза «Вардановский», было построено свыше 50 домов и завезены добровольцы.

С 26 декабря 1962 года, в связи с упразднением Лазаревского района, числилось в составе Туапсинского сельского района. С 12 января 1965 года перешло в состав Лазаревского района городского округа Сочи. Селение было упразднено в 1982 году, поскольку его покинуло население, однако его по прежнему отмечали на топографических картах (в частности, присутствует на карте ГГЦ 2000 года выпуска).

Население
По данным на 1926 год, в Бабук-Ауле числилось 68 дворов с общей численностью населения в 219 человек. В селе в основном проживали русские — 170 человек (77,6 %) и украинцы — 47 человек (21,5 %). Из них 148 человек были записаны в казаки.

Топографические карты

Примечания

Исчезнувшие населённые пункты Краснодарского края

redpajama_set_name: RedPajamaWikipedia


I am an osteopathic medical student. When I graduate medical school, my white coat will be embroidered with the letters D.O. Oh how exciting that day will be ?
I am starting this blog series in hopes of describing osteopathic medicine, in all of it's beauty, from many different perspectives. Each post in this series will be written by a new face – someone who wants to share their viewpoint with you. To begin the series, I'm giving you my perspective. So, lets talk medicine.
I didn't know what osteopathic medicine was until I began the process of medical school applications. Actually, I was confused when I first learned that there are two types of licensed physicians. Maybe it's my rose-colored glasses that I use to look at the world, but I thought that all doctors were trained to listen; to pay more attention to their patients than their patients' charts. I thought the principal to promote the body's natural tendency toward health and self-healing was taught in every medical school, but this focus is unique to osteopathic medicine. Identifying strongly with these principles, the core of osteopathic philosophy, I found myself running full speed towards the medical school I currently attend.
"If your blood pressure is high, I should give you something to lower it." "Since you have back pain, let's get you a pain killer." While these statements may sound logical at first read, they avoid the main issue. Why is your blood pressure high? Why do you have back pain? These are the important questions.
Doctors of Osteopathic Medicine, DOs, believe that there is more to health than simply the absence of disease or pain. Disease is a disruption of homeostasis in our bodies, affecting multiple systems – a domino effect. Treatment aims to restore that balance through structural (bones, muscles, tendons, fascia, and nerves), mental, lifestyle, and chemical or surgical optimization, basically in that order. DOs focus on prevention by gaining a deeper understanding of your lifestyle and environment, looking beyond the symptoms and taking the time to know you as a whole person. We are trained in evidence-based medicine, but also to work with you to create your treatment plan.
We've also got an extra tool in our tool box. Osteopathic medical students receive an additional 200+ hours of education (on top of traditional medical education) in OMM/OMT (Osteopathic Manipulative Medicine/Treatment). Through OMM, we use our hands to diagnose illness and to support the body's innate ability to heal itself. DOs have a deep understanding of how the human body's physiological systems are intimately intertwined, and how each affects the others. OMM is used to treat a variety of health issues, including muscle pain, carpal tunnel syndrome, and migraines. It can provide relief for patients with asthma or sinus disorders, and in many cases can be used to complement, or even replace, drugs or surgery.
To all my fellow medical students and doctors, both allopathic and osteopathic, thank you. Thank you for committing to a lifetime of learning so that you may care for others.
Thank you for sharing this information I was unaware of it. I certainly appreciate your hard work and not being one of those doctors who just offers a pill which isn't getting to the root of the problem for the patient .
Thank you so much! It means a lot to me when people recognize the difference between treating symptoms and treating the cause.
I never knew there were 2 types of Doctors like you described either. I think you are headed down a wonderful path and I look forward to reading more about your journey!
Yes! How cool is that?! I'm so glad I could share something new with you!
So that's what D.O. stands for on some of those medical coats I've seen in offices. It sounds like a wonderful career path if your choosing the medical field. I am all about getting under the cause of the pain or sickness as opposed to treating it. I like prevention and healing!
Yes!! I'm so glad to have shown you a new side of medicine!! <3 I agree, being a D.O. encompasses how all doctors should practice!
Thanks for sharing this – a very interesting post and certainly something I wasn't already aware of so it's great that I know now!
Yes yes yes and so much yes!!!
Well done Nicolet your doing amazing and I can tell you are enjoying what you do. Thanks for sharing great information that I did not know about!!
I do love what I'm doing!! Thank YOU for your sweet words!
I love this and completely agree that PREVENTATIVE is the way to go! Every person is different and needs to be assessed on their lifestyle, diet, and fitness. Helping to find the right mix that will maintain homeostasis in the body is better than treating an issue!
Thank you for sharing this! Now, I am aware. Thank you for having a good heart.. Sending lots of love!
Even though I know a bit about medicine I wasn't really aware of what osteopaths did. I really like the philosophy of getting to cause of pain or high blood pressure instead of just prescribing a quick fix pill.
Yes, exactly!! It's one thing to prescribe when it is necessary… another to simply do it to please the patient and put a bandaid on the situation.
This definitely sounds really interesting. I had no idea that there were different types.
So glad I could give you a different perspective!
This is very interesting. I had no idea. I love hearing about different types of medicine and am really intrigued by osteopathic!
Thank you for this information. I had no idea of all the different types of doctors there could be.
Amazing post! I'm so glad you're starting this series – people often focus on allopathic medicine and aren't aware of another great path of medicine they can commit to. I'm definitely going to be following your series, and I can't wait to learn more about osteopathic medicine!
That's awesome you want to help others in a more natural way. When you understand the root problem, you can better help the individual heal.
I like that you asking questions beyond just filling out the prescription pad, underlying causing are a huge part of most medical issues not to mention a predisposition of our genitics which is completely unavoidable no matter how hard you try sometimes. You can do everything right and still get the same issues your grandfather had, sometimes it is just in your DNA.
This is great and so exciting! BTW love your hair!
Thank you SO SO much for this! I have literally been waiting and checking your instagram for this post of yours. AH! I love you. Thank you!


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Dawn Editorials
Dawn Editorial 11 January 2020
Acts of desperation
ON Wednesday, Mir Hasan set himself on fire inside his home in Karachi. A few days before, his son had asked him for warm clothes to wear to school since an unusually cold winter spell has gripped the city. Unable to fulfil his son's simple request, and fed up of his poverty, the father of four took his own life in one of the most horrific ways imaginable. Incurring burns all over his body, he passed away on a hospital bed the following day. According to his family, the scrap dealer had been struggling to find employment for some time now. His tragic death once again highlights the psychological toll that desperate poverty takes on so many citizens of this country — around a third of the country's total population is estimated to live below the poverty line — but will it jolt our leaders to action? After all, this is not the first incident of its kind in the country. In 2018, a rickshaw driver named Muhammad Khalid set himself on fire near a police station in Karachi to protest against traffic police extorting money from him on a near daily basis. A few months earlier, Shafi Muhammad set himself alight after being handed an electricity bill of over Rs150,000. And, in Islamabad in 2011, 35-year-old Raja Khan immolated himself in front of parliament. Sustaining 90pc burns on his body, the unemployed labourer from Sindh died inside a hospital, having left behind a letter beseeching the government to provide for his children. A similar letter addressed to Prime Minister Imran Khan is said to have been sent by Mir Hasan, requesting housing and employment.
Nine years ago, horror over a street vendor's self-immolation sparked an uprising that led to the ouster of a 24-year-long dictatorship in Tunisia, and ignited revolutionary fervour throughout North Africa and the Middle East. Despite so many similar examples in Pakistan, it is disturbing how deep the apathy and indifference to the pain of others runs in our society.
Traders vs FBR
THE on-and-off talks between the traders and tax authorities have entered a crucial round, with the government having done its part to accommodate the former's wishes through a presidential ordinance issued in the last week of 2019. Now comes the moment when traders have to deliver on their commitment to bring more of their peers into the tax net, and to comply with the requirement to maintain identity records of all parties they buy from and sell to. The government has met their demands to adjust the ceiling on the turnover tax below which traders will not be required to pay, but those whose operations are above the required threshold must now step forward voluntarily. It must be noted, however, that the community has a notorious history of making commitments only to renege on them — and the manner in which they do so can be clever enough to leave the government with little to no option but to surrender in exasperation.
Such a situation was witnessed when the previous government tried to use a carrot-and-stick approach to win the traders over. The community had been offered an amnesty scheme specifically designed for them to bring undeclared assets into the tax net, coupled with punitive measures in the form a withholding tax on their banking transactions if they remain noncompliant with tax-filing requirements. At the time, their leadership agreed to work with the government to persuade members of their own community to avail of the benefits of the offer but, despite numerous deadline extensions, only a negligible number of traders came forward. The government lost patience and slapped punitive withholding taxes on their bank transactions — and there ended the thrust for documentation of traders' incomes and transactions. Now, once again, the traders' leadership has promised to work with the government to bring members of their community into the net. This time, however, the mechanics of the operation are different. Large traders will be identified by the size of their shop floor, and committees with the representation of trader leaders will be formed in every city and town to help identify new declarants. This time round, there is hope that the government will be able to effect a breakthrough, because nobody can doubt the importance of documentation efforts. But it must remain vigilant, and be prepared if it appears that the community is simply playing for time yet again.
Time to declare a polio emergency
IN a mere matter of months, years' worth of progress towards eradicating poliovirus in Pakistan has been reversed. With six new confirmations, the total tally of polio cases in 2019 now stands at 134 — a staggering increase of over 1,000pc compared to 12 cases the year before. Sheer negligence has resulted in the wild poliovirus type 1 — contained to just a few locations as recently as early 2018 — now spreading to a number of areas across the country. Meanwhile, the resurgence of the dangerous vaccine-derived poliovirus type 2, which had previously been eradicated, has been attributed to the accidental use of years-old vaccines which ought to have been destroyed. Pakistan featured heavily in a recent statement on the international spread of poliovirus by the Emergence Committee of the WHO's International Health Regulations, in which it recommended extending travel recommendations for another three months, given its assessment that the risk of international spread of the disease was the highest it has been since 2014. In its statement, the WHO also expressed an "urgent need to overhaul the leadership and strategy of the [polio eradication] programme in Pakistan".
Indeed, for some time now, global bodies have been raising the alarm on Pakistan's pathetic polio response. The recent International Monitoring Board report categorically termed the country's polio-eradication efforts a "political football" and attributed their failure to a "lack of political unity". It described the re-emergence of the virus in areas declared polio-free at the outset of 2018 as "a massive reversal of the trajectory to global polio eradication". This scathing indictment came despite Prime Minister Imran Khan's frequent expressions of concern over the rise in polio cases and numerous pledges to eliminate the disease for good. It was also no less dissonant when, in December, public health and polio officials described anti-polio efforts to be "back on track" at the conclusion of what they claimed was a successful national immunisation drive. However, the five-day drive saw some grave managerial issues — including administering expired oral vaccines to scores of children in Rawalpindi, and failing to reach nearly 300,000 children in Sindh despite official claims of 100pc coverage in the province.
Clearly, Pakistan must learn from these catastrophic mistakes. To have come so close to eradicating eradication polio — in the face of terrorist attacks, disinformation campaigns and public mistrust — only to enable its horrific resurgence through little more than gross ineptitude is despicable. The government must arouse from its complacent slumber and declare a polio emergency, with the prime minister himself leading the campaign in order to stress how crucial this public health issue is. The future of countless children rests on how he tackles this national crisis.
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Sally Field Joins Jonah Hill and Emma Stone in Netflix's Dark Comedy 'Maniac'
Last year, Netflix ordered 10 episodes of a new half-hour dark comedy starring Jonah Hill and Emma Stone called Maniac, and today another big star joined the cast. Deadline reports that Sally Field has signed on to the project, which is currently filming in New York City. Directed by Cary Fukunaga, the series is based on the 2014 Norwegian series of the same name and centers on Hill as "a guy who lives a fantasy life in his dreams but in reality is locked up at an institution." Stone plays another patient at the institution, while Field's character is being kept under wraps. Deadline's report speculates she might play the mother of Hill's character.
Sally Field Joins Jonah Hill and Emma Stone in […]


Man, what a lucky young boy. I just met Nick and can´t wait to tell you his unusual story: He is the newest member of the FedEx team, the coolest family in the world! Here at FedEx, he has almost 700 "flying relatives", starting from small Cessnas to the great big Boeing 777F. And you can´t imagine how proud he is to be a member of such a gigantic family. I bet you're wondering how he managed this… Well, I´ll tell you. Nick is 8 years old and he´s a stork.
Let me start from the beginning. In the summer, Nick lives in Northern Germany but to make sure they have enough food for the winter, his family, his friends and many other storks fly South. Some of them go to Spain, others fly over the Bosporus and the Sinai Peninsula all the way to Africa. After filling their bellies along their journey in the Savanna, on fields and mountains of rubbish, they rest up a little bit before returning to Germany.
Their trips are always very exciting and full of adventure. The Nature and Biodiversity Conservation Union (NABU) in Germany thinks so too. That´s why they´ve been studying them for three years now. The experts from NABU watch their travel route and check out their habits to find out more, for example, about climate change. We at FedEx think this is a great idea and so we support NABU in Germany. And VOILÀ! This is how Nick ended up at FedEx.
As a thank you for the support, we had the privilege of choosing a name for one of the storks. Nick was at the right place at the right time and so he got lucky. We named him. But how did he get the name Nick?
Well, we did what we always do when baptizing new aircraft. We turned to our colleagues for help. Every day, tons of emails arrived full of names of our staff´s family members. Each name was more beautiful and more heart-warming than the other. His name Nick was pulled in a lottery and now he´s the namesake of a 13 year old son of a FedEx dispatcher from Ratingen in Germany. I hope you like the name – because Nick really loves it!
By the way, our aircraft and Nick have more in common than just a baptism. Like all FedEx machines, Nick is also equipped with the most modern technology. Unfortunately, he doesn´t have engines, so he has to go it alone. But he does have a little backpack with a satellite transmitter inside. It works with solar energy and it´s much lighter than it seems. It only weighs 30 grams. The transmitter records his coordinates every hour and sends them to a satellite every third day. This satellite sends the data to a station on the ground and that´s how the NABU experts always know where he is. Nick recently told me that the experts´ life could be much easier if they would just went online.
As a techie stork, of course he has an online diary and a regular post on Facebook. Why don´t you check it out and follow his trip to the South?
But anyway, now he really has to get going. He has just been cleared for take-off!


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HomeArticlesWhere is the favorite Overseas Location for Chinese Films
Where is the favorite Overseas Location for Chinese Films
February 6, 2020 chiefeditor Filming location 0
The overseas shooting of Chinese films stands for Chinese filmmakers' will and confidence to go out and communicate with the world, as well as to let the world see China and let the Chinese audience see of the world. Regardless of hiring local creative staff, on-site support during the shooting process, or post-production, going out will promote Chinese films to be better integrated with international standards, thus further opening Chinese filmmakers' horizons to draw more diverse cultural inspiration.
In the memory of Chinese audiences, A NATIVE OF BEIJING IN NEW YORK, a TV series in the 1990s, was the first one shot in foreign scenes. As the first Chinese TV series filmed in a foreign country, it showed the life of Beijingers in New York with the New York City as the background, enabling many Chinese to understand the living conditions of the Chinese immigrants across the ocean through the screen. Since the series was broadcasted, it once made waves around the country.
Since 2012, when LOST IN THAILAND, a film totally shot in Thailand, set box office records in China Mainland, the Chinese film shooting has spurred an overseas filmmaking spree. From the Southeast Asia, Dubai, Europe to the North America, from comedy, romance, action, to feature films and from big-budget productions to small and medium-sized films, the overseas shooting of Chinese films has also presented the characteristic of diversification.
Location of Chinese films are all over the world
According to statistics, the hottest spot for overseas production of Chinese films is Southeast Asia, with a satisfactory market response. Of the 17 Chinese domestic films filmed overseas with a total box-office take of over 1 billion yuan, six were unsurprisingly shot in Southeast Asia. The tourism-oriented countries in the Southeast Asia represented by Thailand possess a preferable geographic location and provide convenience for traveling with beautiful sceneries and low prices for products, offering great preferential policies for shooting. As the popularity of LOST IN THAILAND has deepened Chinese audience's awareness and affection for Southeast Asia, film crews have come in a continuous stream.
Similarly, North America is becoming more and more familiar to Chinese audiences. Southeast Asia, with its tropical island style, can easily create a relaxed and happy family atmosphere. Quite differently, North America, as a Hollywood base and economic and political center, conveys the temptation of money and success as well as naked greed, with New York as its typical representative, such as A NATIVE OF BEIJING IN NEW YORK, AMERICAN DREAMS IN CHINA, OLD BOY:THE WAY OF THE DRAGON, AN AUTUMN WIND, and NEW YORK NEW YORK. New York seems to be irreplaceable as a shooting location.
Canada is another great shot site in North America. Canada is an industry-proven "Hollywood Studio" and its beauty is always shown in Hollywood blockbusters. The popularity of ANCHORING IN SEATTLE not only brings more fame to Seattle, but also to Vancouver, its actual filming location. Apart from the beauty of natural sceneries and the friendliness of humanity cultures, a series of tax deduction policies and strong technical support from the Canadian federal government also account for the decision of the Chinese crew to shoot films here.
Literary and romantic, Europe is a perfect choice for love movies. PARIS HOLIDAY is a sweet love story happened in Paris; In SOMEWHERE ONLY WE KNOW, Xu Jinglei, the director, chose to shoot the film in Prague. In the action film EUROPE RAIDERS, an exciting adventure is taken place in front of several Italian landmarks.
In addition to the above popular shooting locations, the luxurious country of Dubai is the best choice for the wealth flaunts of films. The film SWITCH became the world's first to be shot in a seven-star hotel.
Chinese people's increasing attention on Indian films in recent years have prompted more and more film crews to shoot in India, such as DYING TO SURVIVE and KUNG FU YOGA. The close integration between the scenery and the plot has increased the realism of audience's viewing experience.
The most special one is TILL THE END OF THE WORLD, which was released in 2018 and starred by Zhao Youting and Yang Zishan. The crew performed live-action location shots in Antarctica for one month. The changeable terrains and harsh weather conditions tortured the crew. Wu Youyin, the director said: "Only when you set foot on the land of Antarctica, can you shoot the natural beauty that CG special effects can't present; only when they feel the bitter coolness, can they erupt the most real and original emotions by embracing each to get warmness."
Multiple factors contribute to the popularity of overseas shooting
Since 2012, the Mainland movie market has become more and more popular. On the one hand, the scale of movie investment has gradually expanded, enabling the support the cost of overseas shooting; on the other hand, the viewing need of audiences also changes, with a greater demand for modern subjects such as comedy, love and fashion. Therefore, overseas shooting has become a powerful publicity point to gain a high degree of attention. The typical cultural atmosphere of the shooting location, the distinctive folk customs, and the beautiful and unique landscape all appeal to the audience who can enjoy fresh visual experience, thus becoming an important influencing factor for audience's choice of viewing.
Of course, for most films shot overseas, their storylines mainly contribute to their overseas filming, such as the series of DETECTIVE CHINATOWN, the series of ANCHORING IN SEATTLE, LOST IN THAILAND and DYING TO SURVIVE. The necessity of overseas shooting is due to the abroad setting of the background and the occurrence and development of the plot.
Overseas film locating also helps the film's distribution in overseas markets. In fact, in order to encourage overseas film crews to shoot in their countries, relevant film development or tourism development departments will assess the market potential of the film based on the investment quota of the project, the popularity of directors and actors in the country, the strength of production companies and other factors before the approval of film and television filming applications. When the evaluation results indicate excellence, the local government will actively participate in the process and launch related publicity and marketing activities, which will be of great benefit to the future distribution of film projects in these countries.
Overseas shooting is a powerful way to enhance the visibility and recognition as well as the development of the local tourism industry of the shooting location. Therefore, countries have also launched various preferential policies and shooting support services to attract foreign crews, who undoubtedly assume it as good news due to the saving of manpower and material resources.
Overview of Preferential Policies for Overseas Movie and Television Photography
Since 2011, Korean Film Council has subsidized a portion of the production costs of foreign films and television series shot in South Korea. Goods and labor expenses in Korea can receive a cash subsidy, so that foreign production companies can produce high-quality film and television works with lower production costs.
25% cash subsidy for production costs: 25% of the production costs paid in Korea are subsidized in cash. The size of the subsidy is based on the undisbursed budget on the date of application. The maximum subsidy for each film is 2 billion won.
The profile of qualified foreign movies and TV series is:
Overseas funds must exceed 80% of pure production costs.
Overseas films and television works shall be approved by the Korean Film Council, with a cost of more than 100 million won in South Korea.
The Korean Film Council will evaluate the contribution of the film and television projects to Korea's tourism, film industry, and engagement. Based on these, the government shall determine whether to grant subsidies.
Foreign films enjoy 15% of cash subsidy.
Additional subsidy: 3%- the employment of Thai creative staff
2%- the promotion of Thai tourism
The maximum subsidy for each movie is 75 million baht.
In addition, Thai official staff stated that it only took 3 to 10 days for Chinese filmmakers shooting movies in Thailand to gain approval since the application to approval in one place.
Overseas films and television works shall spend more than 50 million baht in Thailand.
In order to attract foreign film and television shooting and production projects, Australia has specially established Ausfilm, which is a cooperative organization of private enterprises and government agencies. Its members include the Australian federal government, state and territory governments and 30 private companies. As a gateway to film in Australia, Ausfilm provides various services for film crews and "post-production" crews to Australia.
Ausfilm has promoted Australia's "Film Production Incentives Program" globally, including the following:
Production subsidy: 40% of producer compensation (feature films);
20% of producer compensation (TV and other projects);
30% of post-production, digital and imaging (PDV) compensation;
5% of venue compensation (feature films and TV series).
Location subsidy: 16.5% of tax refund.
Since 2013, the portion of tax refunds for overseas and local films made in New Zealand has been increased from 15% to 20%. Production companies meeting certain requirements or bring more benefits to New Zealand shall receive an additional subsidy of 5%.
The requirements include: a minimum of NZ $ 500 million in filming activities; ensuring that 90% of the live actors must be New Zealanders; holding at least one official premiere in New Zealand; and a short film about New Zealand shall be included in the DVD and Blu-ray version of the film.
According to the co-production agreement signed by China and France in 2010, the films co-produced by the two countries will obtain "dual nationality", which means they shall belong to either of the two if they are released in one specific country.
Since January 1st, 2015, TRIP was approved by the Congress.
Since January 1st, 2009, France has implemented a reward system for high-cost movies to be shot in the country. In other words, film production companies that spend more than 1 million euros in France, will be given a maximum of 20% reduction in production costs spent in France by the government (excluding hotel accommodation costs and salaries of French actors).
Since 2015, this policy has also applied to small-cost productions, and reduced the maximum spending limit from 1 million euros to 250 thousand euros in 2017. That is to say, for projects with a cost of more than 250 thousand euros for shooting, animation or post-production, or more than 50% of the total budget, the French government will give a maximum of 30% reduction for the qualified cost in France (on the basis of exemption).
The maximum amount of financial support is 30 million euros.
Since the signing of the first audiovisual co-production agreement in 1963, Canada has signed film or television co-production agreements (the largest number in the world) with 53 countries including China, France, and the United Kingdom.
In order to promote the development of the film industry and attract more foreign film shooting, the Canadian federal government has implemented a series of tax deduction policies in the film and television industry, among which, the "Canadian Content" tax refund program is the most important one. This policy applies to programs produced by Canadian companies or film and television products whose main creators are Canadians. According to regulations, 25% of the work staff's salary can apply for a tax exemption without exceeding 60% of the amount deducting the government subsidized external budget. In addition, there are tax credits specifically for Canadian branches of foreign film and television companies or Canadian companies involved in the production of foreign film and television works.
American states have different preferential policies for film production. For example, the tax budget can only be obtained if it exceeds a certain amount in the state. Such as Maryland requires a minimum investment of 500 thousand dollars in the state, and 50% of the main scenarios should be shot in the state. In order to prevent large-budget movies from getting excessive tax refunds, which might squeeze the benefits of other projects, a cap is set for tax preferences in basically each state. For example, Hawaii will refund 15% to 20% of the tax for film and television investment projects with a cost of more than 200 thousand dollars locally, but the maximum refund is 8 million dollars.
In some states, film and television production companies are required to hire a certain number of residents of the state to receive wage tax benefits, and the tax credits generated by the employment of the state residents are greater than that of non-state employees. For example, Colorado states that if 25% of the actors and crew members are residents of the state, 10% of tax benefits will be obtained for production costs in the state; Maine grants 12% and 10% of the salary tax refund for the employment of local and non-residents respectively.
Original: Editorial Department of dianyingqingbaochu
The original work refers to the following articles: Strategy for the Preferential Policies for Overseas Film and Television Shooting SOHU Entertainment: Covert Rules for Domestic Films Shooting: for Big Sales, Go Overseas.
Editor: SONG Yiran, GAO Yuhan
The Story of "Oscar Films" in Mainland China
Jeremy Irons Will Be Jury President of the Berlinale 2020
Big Data of Chinese Films
Film Festivals Scan
Film Market Research
People of Chinese Film Market
Production List
Chinese Film Market © 2016 All Rights Reserved


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Richard Weeks
Richard Weeks, vice president of sales at Leggett & Platt, High Point, N.C., will serve as 2021 chair of AHFA's Solution Partners Board of Directors.
Joining Weeks on the executive committee are Greg Van Dyke, Hanes Industries, Conover, N.C., as first vice chair, and Andrew Wright, Smith Leonard, High Point, N.C., as second vice chair. Heather Corrigan of Lectra, Smyrna, Ga., will serve as immediate past chair, and Barrett Plasman, Scott Insurance, Greensboro, N.C., is past chair.
Remaining board members all agreed to add a year to their terms, since COVID-19 resulted in the cancellation or delay of many board activities in 2020. Directors with three years remaining in their term of service include Mariano Amezcua, DAP America, Norcross, Ga.; Scott Buehrer, B. Walter & Co., Wabash, Ind.; Tim Mattulke, Bureau Veritas, Buffalo, N.Y.; and Patrick Spaugh, Womble Bond Dickinson, Charlotte, N.C.
Bill Creekmuir, Pinnacle Search Partners, Atlanta, Ga., is serving a term ending at the end of 2022.
Directors with terms expiring at the end of 2021 include Kim Cobb, Wright Global Graphics, Thomasville, N.C.; Blake Millinor, Valdese Weavers, Valdese, N.C.; Tim Stump, Stump & Company, Charlotte, N.C.; and Joe Wade, Shelba D. Johnson Trucking, Thomasville, N.C.
AHFA's Solution Partners division has a diverse membership of product and service providers to the residential furniture industry. The division provides needed information, expertise and partnership on critical industry issues. In addition, it supports an education fund that, among other initiatives, awards 12 $2,500 scholarships annually to college-bound students who are the children of industry workers.
The Solution Partners education fund also supports AHFA's MyFurnitureCareer.com website, which augments the worker recruitment efforts of domestic upholstery plants.


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A new report confirms that that terrorist activities continue to be backed by cash rather than cryptocurrencies, which don't afford such groups the anonymity they seek.
It is a fact that has been known for some time, despite many government departments in jurisdictions around the world citing cryptocurrency links to terrorism, a connection well disproven over time. A 72-page long report published by Europol late last year confirmed conventional banking as the primary source of terrorist funding such as the recent attacks on European cities.
Europol, based in The Hague, the Netherlands, supports the 28 EU Member States in their fight against terrorism, cybercrime and other serious and organized forms of crime. They also work with many non-EU partner states and international organizations.
Now, a newly release Rand Corporation report reconfirms that cryptocurrency is ineffective as a source of funding for terrorist groups. Cash is seen as being far more suited to the transfer of large sums for such activities, mainly due to the increasing degree of legalization and regulation surrounding the cryptocurrency space, which is seen by many from within the industry as a good thing.
The latest report, eclipsing Europol's 2018 report by 27 pages, focuses primarily on the receipt, management, and spending of funds for terrorist activity. The report maintains that the only one of these areas in which cryptocurrency might have some effectiveness in the first, as receiving funds has been made simple by using digital assets due to its global nature and ease of distribution.
The report suggests the terrorist needs are not supported by current cryptocurrency systems such as affording the anonymity to buy arms, purchase property and pay for propaganda. These key areas vitally important to terrorist cells require hard cash.
However, the Rand report does add one note of concern for the future suggesting that situation might change with the potential emergence of a single cryptocurrency "that provides widespread adoption, better anonymity, improved security, and that is subject to lax or inconsistent regulation".
The post New Report Confirms Terrorists Still Prefer Cash to Crypto appeared first on BitcoinNews.com.
This entry was posted in Altcoins, Bitcoin News, BTC, Crime, Cryptocurrency, Cryptocurrency for Criminal Activity, digital currency, EU, Europe, Europol, fundraising, Holland, News, Rand Corporation, The Hague on April 4, 2019 by adminbtc.


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59 years of Uganda's independence a disappointment- Ambassador Acemah
By Ritah Kemigisa
With just hours to this year's commemoration, political analysts have described the 59 years of Uganda's independence as disappointing.
Speaking to KFM ahead of the celebrations tomorrow, Ambassador Harold Acemah says the dreams, hopes and great expectations in the future of Uganda after it attained independence have remained unfulfilled.
Acemah says the country has lost its direction and priorities are upside and down.
He adds that it's saddening to see the current government commit nearly 40% of its budget to security and yet the east African region is largely peaceful.
To Acemah, it is not yet Uhuru (independence) and that there is nothing to celebrate.
However, the NRM government has often boasted of making great strides in economic, social and political development over the past 30 years.
This year's independence celebrations will run under the theme, 'Celebrating our 59th Independence day as we secure our future through a national mindset change"
Only 600 guests will join the President Museveni at Kololo ceremonial grounds for the celebrations.
Ruparelia group's Night Shift studio to support youngster Ekuju's career
MAK receives USD 3m grant to monitor air quality
MPs to inspect Entebbe airport expansion project today


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NBA Star Spencer Dinwiddie's Crypto-Fueled Social Media App Raises $7.5 Million – Blockchain Bitcoin News
According to an announcement revealed on Thursday, Spencer Dinwiddie's token application called Calaxy has raised $7.5 million in funding. The American professional basketball player for the NBA's Brooklyn Nets has been a fan of blockchain technology for quite some time, as the point guard raised $1.3 million tokenizing his contract on the Ethereum blockchain.
Hedera Hashgraph-Powered Calaxy Raises $7.5 Million
The NBA star Spencer Dinwiddie's token application Calaxy raised $7.5 million in funding according to statements sent to Bitcoin.com News. The capital raise announced this week stemmed from a deal that involved the acquisition of future CLXY tokens.
Spencer Dinwiddie's Calaxy App aims to be the "first social media super app designed for creators, by creators." The financier Solo Ceesay is Calaxy's COO and cofounder who said he saw an opportunity in creating a platform that helps monetize an online community.
Calaxy leverages the enterprise-grade blockchain network Hedera Hashgraph, a project backed by firms like IBM and Google. The Calaxy platform will leverage a native token called "CLXY."
Calaxy aims to offer interactive polls, messaging, video calls, and the ability for fans to engage with influencers like sports stars and musicians. The name Calaxy is a play on the words "creator" and "galaxy."
At the time of writing, Calaxy is in private beta and the first public version of the application will be ready in the near future. The app will be available on Google Play and Apple's App Store and people can sign up to request early access to the public beta to get a key.
Spencer Dinwiddie had a token sale of his contract hosted on the Ethereum blockchain last year. The sale of Dinwiddie's tokenized contract raised $1.3 million which was only a tenth of what the project hoped to sell ($13.5 million).
Dinwiddie's NBA contract was tokenized by leveraging Dream Fan Shares (DFS), however, the NBA star is leveraging Hedera Hashgraph over Ethereum because it boasts a higher transaction throughput.
The point guard for the Brooklyn Nets initially told the press he would tokenize his contract in 2019 but the NBA threatened to end his contract. Despite this, Dinwiddie continued his mission and has been a proponent of blockchain technology ever since.
What do you think about Spencer Dinwiddie's and Solo Ceesay's Calaxy social media application raising $7.5 million in funding? Let us know what you think about this subject in the comments section below.
$7.5 million, Brooklyn Nets, Calaxy, Calaxy App, Capital raise, CLXY token, contract, Financing, Funding, Hedera Hashgraph, NBA Spencer Dinwiddie, Social Media, social media super app, Solo Ceesay, Spencer Dinwiddie, Spencer Dinwiddie NBA, tokenization, Tokens
Image Credits: Shutterstock, Pixabay, Wiki Commons, Calaxy
Tags: Bitcoin, Ethereum
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