Eni CEO was one of the speakers, along with the Secretary General of OPEC, HE Abdalla Salem El-Badri, at the opening session of the "Middle East and North Africa Energy" 2016 conference, held at Chatham House in London, on 25 and 26 January 2016.
Eni is a gold sponsor of the conference that offers, in the context of one of the world's most prestigious institutions for international relations, a significant opportunity for leading figures from the world of politics, the arts and business to meet and exchange ideas about the energy market in countries of the Middle East and North Africa, in particular in the framework of the complex political, economic and social dynamics currently affecting the area.
Good morning ladies and gentlemen, it is an honour and a privilege to address you today about the Middle East and North Africa and the crucial role they are playing in this transformational period for the energy market.
Looking at the current situation, we can remark that oil prices are being strongly dominated by volatile short-term views and driven by financial markets, while the long-term fundamentals should lead to a more realistic price range for oil and gas.
The lack of a regulator - the role played before by OPEC - which balanced oil prices and gave a long-term perspective, has resulted in the market being handed over to short-term positions, which accentuate the impact of the existing physical imbalance.
An example of this short term view is the strong correlation between public data on US stocks and the oil price trend, although nowadays these only account for around 5 days of global demand.
These dynamics have also contributed to the fact that the oil price has dropped by 70%, and gas prices, which in many cases are still oil-linked, have followed a similar trend.
In the last two years, gas prices have come down in the US and Europe by 50%, and in Asia, by 70%, reaching the minimum levels recorded since the end of the "90s.
Demand growth in 2015 is at its maximum level since 2010, 1.8 Mb/d, against an expectation of 1.2 Mb/d.
If this situation persists, the energy sector will be severely damaged and we could end up with the difficult situation where the world is not producing enough energy.
We cannot control and limit short term reactivity, but we can work on one of the main distortions of today's energy market - the lack of alignment between oil & gas prices and the cost structure. This is indeed one of the main issues to be tackled to restart investments and guarantee a diversified global energy supply.
While prices have dropped by around 70%, costs have fallen by only 15%-20% and we can assume that they are still based on a price level of around 80 $/bl.
Only those who succeed in quickly aligning their cost structures to prices will be able to maintain a reasonable level of investments and, consequently, market share.
Otherwise, diversification of global supply will be reduced, because only few countries with low breakevens will continue to produce and develop resources, and these countries are mainly concentrated in the Middle East and North Africa.
In this context, where a gradual transition will be necessary to align costs and prices, the Middle East and North Africa, which now account for 36% of global liquid production, have the potential to be even more at the centre of the energy scenario, even expanding their market share, regardless of geopolitical tensions and the current political turmoil.
almost all the global spare capacity, which may allow them to play the role of swing producers.
All these elements highlight the strong and strategic position of the Middle East and North Africa in the energy scenario.
Passing from the oil to the gas market, the Middle East has a huge potential to be developed and, in particular, I am referring to the additional gas resources in the East Med gas hub.
In fact, the Egyptian giant gas field of Zohr is only the latest in a series of discoveries that has led to the identification of significant volumes of gas in the offshore area of the Eastern Mediterranean, over the past few years.
In addition to the reserves already discovered, we expect that the deep-water areas of the Nile Delta and Levantine Basin still have great potential, which we can add to the rich resources still to be exploited in Libya.
Furthermore, these resources can rely on already existing gas infrastructures in Egypt, both for production, such as flowlines and treatment plants, and for export, such as liquefaction terminals and pipelines, for an overall export capacity of 35 BCM.
If these countries are able to define common strategies and share these existing infrastructures, they will manage to lower the necessary investment levels, reduce costs and speed-up the exploitation of available resources, helping them to grow faster.
This will lead to the creation of a new gas hub, which could boost development and contribute to the stability of the entire region.
To sum up, the Middle East and North African countries are facing a difficult scenario, due to geopolitical tensions, but have all the favourable conditions to revert this situation in the medium/long term, leveraging a huge amount of O&G reserves with low break-even and operating costs.
It is true to say that, unlike other countries, low energy prices can give them a competitive advantage, as they will be the only players to produce and invest, increasing their market share, reducing energy source diversification and, consequently, becoming even more crucial and critical in the future energy scenario.


On Friday night students gathered at Baker-Berry Library to receive personalized letters indicating their membership in one of the six new house communities: Allen, East Wheelock, North Park, School, South, or West. The house residential life model is a cornerstone of the Moving Dartmouth Forward plan—designed to transform the undergraduate living experience by bringing more continuity to students' on-campus living experiences and greater opportunities for faculty-student interaction beyond the classroom.
The seven faculty members who will serve as house professors talk about their new roles.
Watch the video on Dartmouth Now.
Site work will begin soon on a temporary house center to be built near Gile and Hitchcock residence halls.


text:
Hedef Cast AJANS
Cricket Games – Be A Part Of World Cup Cricket!
The spirit of cricket is at its peak these days as the 2011 World Cup cricket is going on. For a cricket fan, there are many reasons to enjoy the game. Australian captain Ricky Ponting and Indian batting legend Sachin Tendulkar are planning to retire from international cricket after this World Cup and for a cricket fan, this means a lot. Cricket fans are expecting that these master players will bring out their best to make the game and true challenge.
Instead of watching cricket on television, isn't there a way for you to get some adrenaline rush of the game? Don't you want to be that mean batsman who fly the balls of the bowlers and take your team to victory? If you want to feel all these things, the best way is to dedicate yourself some time to play cricket games online. Online cricket games have developed keeping advertising revenue in mind and this is where you don't have to pay anything for playing those games.
Interestingly, these games are coming with all type ยูฟ่าเบท of tensions and memorable events like real-life cricket. Be warned on the fact that online cricket is an addiction and once you start playing this game, you will completely forget the actual world around you. It doesn't matter which part of the game you're planning to be on, cricket games will help you to be your favorite player. You can be a good fielder, wicket keeper, spin bowler, fast bowler like Shoaib Akthar, batsman or an all rounder.
If your passion is in flying those balls beyond the boundary, you can be a batsman and do exactly what you want. On the other hand, for those who find pleasure in taking the wickets of others, being a fast bowler is the best choice. You will be surprised by the speed of online cricket games because the load on your personal computer systems effortlessly. This is also the reason for many people to consider online games because they do not need very complex graphics cards or computer systems to play their favorite games but the simple personal computer can deliver them all the excitement they need in their lives. These cricket games are constantly updated and you will always find the best when it comes to online gaming. Since this mode of the game is largely supported by advertising, you don't have to spend money on playing them too!
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text:
Builders battle freezing temps to keep construction boom going
Adrian Ma Feb 21, 2018
"You just gotta suck it up," said Kai Yee, a laborer in Cleveland, Ohio when asked how he deals with extreme cold. "If [you] can't do the job, they'll bring somebody else who can. Everybody's replaceable."
Adrian Ma/ for Marketplace
For people who work indoors, snow, ice, and subfreezing temperatures are often nothing more than an inconvenience. But for construction companies and their employees, harsh winter weather can be something more — a financial and physical hazard.
Cities across the country — from large urban areas like Chicago to smaller ones like Cleveland — are in the midst of a multiyear building boom, with developers racing to meet pent-up demand for housing and office space. And with billions of dollars in play and deadlines to meet, the work rarely stops even when the weather turns ice cold.
"It's all about maintaining a schedule," said Bill Trump, a manager at Arbor Construction in Cleveland, Ohio, which began work last September on what will eventually be a 29-story apartment building costing at least $60 million called The Beacon.
On a recent January morning, the job site, located atop a parking garage in the city's downtown neighborhood, was silent. The temperature was 5 degrees Fahrenheit (minus 15 with the wind chill), and much of the equipment and scaffolding was covered in a layer of snow.
That day, Trump (no relation to the president), along with his subcontractors, decided to cancel production because under such frigid conditions even basic tasks can become impossible: you can't pour concrete because it will freeze; you can't weld because the metal will crack if it cools too fast; you can't even use the Porta-Johns because the liquid inside turns to ice.
"When the blue stuff freezes, you want to find somewhere else to go," Trump said.
There are a few workarounds though. For instance, heated water can be used to mix cement, steel beams can be covered with special blankets to protect fresh welding seams, and open areas can be enclosed with plastic to provide workers some shielding from the elements. But all of these adaptations add to the time and expense of wintertime construction.
"I could retire off the money I've spent [each year] on winter conditions," said Trump. For The Beacon, the additional expense could easily run about $100,000 this season.
But even with these challenges, Trump said the decision to shut down production isn't easy. That's because for builders, every day lost to weather can potentially cost thousands of dollars in the long run.
Like most major construction projects, Arbor's contract with the developer, Stark Enterprises, contains a penalty clause (also known as a "liquidated damages" clause) that kicks in if the project isn't finished on time. In this case, the damage could be $4,000 for every day the project is late. The goal, said Trump, is to finish by March 2019. But due to weather delays, they are already about two weeks behind schedule, he said.
It's not just owners or project managers who feel the financial pressure to keep production moving, however — so do the workers.
A few days later at the Beacon site, the mercury was in the high-20s — not tropical, but warm enough for the crews to head back to work.
"If I had a dollar for every time I said, 'I think I got frostbite,' I wouldn't be out here," said carpenter Thomas Cole Crew.
Other than dressing in layers and trying to stay dry, Kai Yee, a laborer with Local 310, said there's no special trick to working in subfreezing temperatures.
"You just gotta suck it up," said Yee, who spends about 7.5 hours outside each day, only breaking 10 minutes for coffee and a half-hour for lunch.
"There's a deadline to everything, and whatever that deadline is we have to meet," he said. Although workers can choose to stay home when the weather turns foul, Yee said it is an option they rarely exercise. "These are guys from the union," he said. "If they can't do the job they'll bring somebody else who can. Everybody's replaceable."
Despite the pressure to keep producing, both Yee and Trump said safety is always a top concern. But there's no escaping the fact that winter weather can make construction, an already dangerous profession, even riskier.
"You can be working hard outdoors and work up a sweat," said Dr. Donald Ford, a family physician at the Cleveland Clinic, "unless you're perfectly insulated, that sweat is going to serve to conduct heat away from your body." The combination of heat loss and moisture, said Ford, increases the risk of hypothermia and frostbite.
According to the Occupational Safety and Health Administration, employers have a duty to protect workers from "recognized hazards" including frostbite and hypothermia, but there aren't hard-and-fast rules. The agency does recommend that workers who spend hours outside in subzero temperatures take frequent breaks. But that doesn't always happen, Crew said.
"Nobody out here wants to be the weak one, so a lot of times your pride and ego will keep you out there longer than you really should," he said.
On top of watching their body temperature, workers who are outdoors in the winter also need to watch their step. According to a 2013 study by the U.S. Bureau of Labor Statistics, on-the-job falling injuries that result in bone fractures occur more often during the months of December, January, and February than during any other time of year.
Still, despite the risk of injury, illness, and the hours of discomfort, Crew said there's no need to feel sorry for them.
Come springtime, "when it's 70 and sunny, we're the lucky ones."
This story originally ran in Ideastream on Jan. 14, 2018.
Construction workers needed as building industry booms
Mild winter helps some businesses, hurts others


text:
See Japanese corporate profile
ELM Inc.
Our company's optical disc restoration device has acquired 95% of the world market.
Our company produces electronic devices such as optical disc restoration devices and develops LED lighting equipment. Our optical disc restoration device polishes the read side of CDs and DVDs successively for up to 500 discs, and it has acquired 95% of the world market. We also developed an LED apparatus that can freely control the spectrum of light (hue), and realizes an ultra-high color rendering capability (Ra = 97). Our organization can handle transactions with overseas companies because we have employees who speak English and Korean.
Products/Technology/
Other presentation
[Company strength]
Our corporate philosophy since our establishment has involved 3 points. (1) "Do not accept consignment orders." (2) "Create a workplace where top-flight engineers can do top-flight jobs." (3) "Aim for the world market from Kagoshima." Our company has a well-balanced combination of technologies for electronic circuits, precision instruments, and software, which is rarely found in Kyushu. We create one-of-a-kind products by fusing these 3 technologies, thereby contributing to society.
[Business description]
We offer the eMax-SP tracking type photovoltaic power generation system, the drone unmanned aerial vehicle, and Econolight R series LED lighting equipment. Our optical disc repair machine has acquired 95% of the world market for this kind of automatic device, and it is being used in 37 countries around the world. We also offer a Blu-ray disc restoration device.
We develop industrial labor-saving equipment and electronic application devices, automatic satellite tracking system, traceability systems for meat factories (beef/pork), automatic flat net packaging machines, and computer application development services.
[Industry]
[Strength of products/technologies]
[Optical disc restoration device]
We have a 95% share of the world market for automatic optical disc repair machine, and our devices are being used in 37 countries worldwide.
Our device polishes the read side of CDs and DVDs successively for up to 500 discs. Its flat restoration technology (patented) has a high repetitive restoration capacity. Our device also has a recycling unit for the restoration water to lower the impact on the environment.
[LED]
We developed an LED device that can freely control the spectrum of light (hue) to realize ultra-high color rendering capability (Ra = 97).
[Tracking type photovoltaic power generation system]
A single system generates 50 kW by automatically tracking sunlight, thus enhancing profitability.
[Representative's message]
The "EL" in our company name stands for electronics. The "M" is for Measurement, Machines, Mechanisms, and "Mu" (dreams). The company was named this way because this name is easy to read. It also does not limit the geographical location or nature of our business, which allows our company to enter any field. We have created original, high-value-added products in order to provide worthwhile job opportunities for engineers since our establishment in 1980. We will continue to send innovations to the world from the Minami-Satsuma area.
You can watch a message video at the following site:
("President TV in Kagoshima") http://j-president.net/kagoshima/data/data472.html
[Company structure for market development/overseas expansion]
The sales department functions as the point of contact for inquires. Our products are also offered through sales agencies located nationwide. For technical inquiries, our development staff visit the site for a solution whenever necessary. We have staff who speak English and Korean to respond to overseas companies in those languages.
[Market share/Ranking]
We have acquired 95% of the world's optical disc repair system market (37 countries).
[Awards and media coverage]
[Awards]
45th Good Company Award (2011); 300 of Japan's Vibrant Monozukuri (Manufacturing) SMEs (2006).
Minami-Nippon Shimbun (May 13, 2014); Kagoshima Broadcasting, "KKB Super J Channel" (May 12, 2014); Minaminihon Broadcasting, "MBS Furusato Kagoshima" (March 11, 2014); Mainichi Shimbun, edition of January 22, page 12 (2014); The Nikkei, edition of November 8, Kyushu economy page (2013); TV Asahi, "Super J Channel" (March 6, 2013); Weekly Post, "World's No. 1 Companies" (February 1, 2014); News Top (November 1, 2012); and many others.
[Authorization/Certification]
Eco Action 21 certification (Registration No. 0006191).
[Joint research and development]
Kagoshima Prefectural Institute for Agricultural Development (joint development of LED lighting equipment for controlling flower buds).
[Other sites]
Headquarters (MinamiSatsuma-shi, Kagoshima prefecture)
[Transaction form]
Orders for trial manufacturing and development, joint development, sales of products and materials, and so on.
[Transaction terms]
Based on our terms and conditions. Basically, the billing cycle is closed at the end of each month, and payment is due by the end of the next month (for amounts less than 1,000,000 yen: cash; 1,000,000 yen or more: bills; payment is due after 45 days).
[Main Clients / Business History (domestic)]
Mediceo Group (replaced all the mercury lamps in their warehouses nationwide with LED lamps), Starzen (introduced a traceability system for all their factories in Japan), and so on.
[Main Clients / Business History (overseas)]
ELM U.S.A (sales agency in US), ELM facilities (sales agency of comsumables in US), RTI (sales agency in Americas), Hydropal (sales agency in Australia),  Disc Station(sales agency in NZ), and ELM Technologies (sales agency in Europe).
[Exhibition History/Information]
General Exhibition for Medium and Small-Sized Businesses JISMEE2012/CEC2002 Las Vegas
This company is recommended by the following support organizations.
Kyushu Head Office, SMRJ
FINECS CO.,LTD.
Our company manufactures all shapes of terminals and pins from metal wire. Our products include ultra-small terminals and pins for semiconductor chips, connector terminals, diode pins, male terminals for automotive connectors, and bandolier pins. Fabricating products from metal wire rather than pressing metal materials with dies has many advantages. These include much lower initial tool and die costs and much less material waste from cutting scrap.
株式会社ペンタクト
Carry Through Co.,Ltd.
We have technologies cultivated in software/hardware development, FA (factory automation) system engineering design, manufacturing and adjustment, development and design of solar tracking PV equipment, and so on.


text:
Theresa Scarrci 7/21/2018 12:00:00 AM Worcester,MA
August 2, 2018 /
San Juan Capistrano, CA – Theresa C. Scarrci (Szczurko) 90, formerly of Worcester Ma., passed away Saturday, July 21st at Mission Hill Hospital, Ca.
Theresa's world revolved around her family. She was a devoted mother to her three precious children. Her happiest moments were those spent with her children and grandchildren.
Theresa was preceded in death by the love of her life Anthony "Tony" Scarrci nearly 30 years ago. Theresa remained devoted to her husband until they could be together for eternity.
Theresa is survived by her three children and their spouses, Angela (Joe) Turnage, Donna (Gregory) Fenderson and John (Diana)Scarrci and brother Daniel Szczurko. And God Daughter Lisa Osborne. Theresa was also blessed to be Nana to six grandchildren, eight great-grandchildren and two great-great grandchildren.
Theresa was also preceded in death by her parents Jacob and Ceclia (Marzopa) Szczurko, brothers, Alfred J. Simmons and Frank Szczurko and sisters, Helen S. Evanowski, Dorothy R. Tufano and Mary M. Muir, and two very special friends Barbara Wheeler and Vinnie Coridori.
Theresa worked at Daypo Plastics and later as a bus monitor for Worcester Public Schools. Theresa was an active member of Knights of Columbus Ladies Auxiliary and a member of Our Lady of Mount Carmel Church in Worcester.
Funeral Services will be held on Friday, August 3rd at Fazio Funeral Home located at 9 Branch Street in Worcester. Visitation will be Friday, August 3rd from 9:30-10:30 Am. A funeral mass will follow at 11:00 at Our Lady of Mount Carmel Parish at Our Lady of Loreto Church. Interment will be at Worcester County Memorial Park, Paxton. Funeral arrangements are under the direction of Louis M. Fazio III. Please visit www.faziofuneralhome.com for directions and condolences.
View Original Notice → Theresa Scarrci 7/21/2018 12:00:00 AM Worcester,MA
Stephen A. "Grover" Snelgrove 8/1/2018 12:00:00 AM Webster,MA
Irene Mary (Budrejko) Goyette 7/29/2018 12:00:00 AM Rochdale,MA / Leicester,MA / Worcester,MA


text:
Haunting Journey in 'Constellations'
Sept. 20, 2017 By Alexa Chipman
Review of Constellations
By Nick Payne
Directed by Juliet Noonan
www.6thstreetplayhouse.com
Tickets: $25-28, $22-25 Senior 62+, $18 Under 30
RUN: September 8 – 24, 2017
Marianne (Melissa Claire) and Roland (Jared Wright) comfort each other. Photo by Eric Chazankin.
Think back to the last time you made a decision, perhaps one where either outcome would have made a significant difference in your life. What if you were able to see the results of choosing an alternate path? It could be a matter of having chocolate ice cream over lemon sorbet for dessert, or it might lead to an entirely unique story with new relationships and outcomes. According to string theory, there may be a multiverse where each possibility exists, layered in a glorious tapestry of parallel universes. The structure of Constellations explores what it would be like to observe this phenomenon in action.
Step inside a swirling galaxy of lights by Ryan Severt and Conor Woods, lending a somber, contemplative atmosphere to 6th Street Playhouse's Studio Theatre. This brief, intense play is a roller coaster of emotion; it gathers momentum, leaving the audience breathless by the end, tears forming from the level of raw vulnerability witnessed through Melissa Claire (Marianne) and Jared Wright (Roland) who are expertly directed by Juliet Noonan.
The actors move within situations in which multiple outcomes are possible—they begin dating, but say the wrong things and it falls apart, one of them loses interest, or it goes splendidly until he attempts to propose and chokes on his speech. Rather than a linear story, it is more of a waltz, stepping forward, then back, off to the side, and twirling to the beginning space. I felt myself wondering "what will happen this time?" eager to see the next vignette.
Throughout the interchanges, an odd, unexplained moment keeps repeating, as if so weighty that all other universes are drawn to it like gravity. This teasing mystery is slowly unveiled, until it becomes clear why that precise scene is pivotal, and this payoff is what causes the play to have personal depth beyond a technique experiment.
Constellations is a candid glimpse of possibilities that touch our existence, through two extraordinary actors, who take the audience on a journey through the clamor of multiple universes, demonstrating the power of connection and love through tragic circumstances. There will be laughs along the way, awkward dates, and lost opportunities, but through it all they find each other and the strength to eventually let go.
« 'Grace' Ponders the Intimacy of Belief	» Spunky 'Cabaret' from Ross Valley Players


What does TTS tell us about PTS?
HomeAudiogramWhat does TTS tell us about PTS?
In the first course about noise exposure that any audiologist takes, they are confronted with a pile high list of articles and research papers about the many studies concerning hearing loss and noise.
Animal studies are generally about creating a permanent hearing loss (or permanent threshold shift PTS) and human studies concentrate on creating temporary hearing losses (or temporary threshold shifts TTS). This, of course, is the ethical thing to do- I would doubt that any ethics review board would approve a study where someone was asked to give up their hearing for the sake of science. Animals, and research on animal models are quite different and over the years there have been many publications about creating PTS on lab animals in well-controlled environments.
This has not always been the case. Davis's classic 1947 and 1948 studies on diplacusis involved American service men sacrificing their hearing on one side so that one normal hearing ear can be compared with one with a sensori-neural hearing loss. Thank goodness these experiments are a thing of the past.
Typical TTS studies involve creating a well-defined and controlled hearing loss using noise and measuring the resulting effect over time. This can be done with a range of parameters such as the application of other "pre-toughening noises" or certain medications.
But, what can studies on TTS in humans tell us about future permanent hearing loss? This is where many of our colleagues go off the rail. At most, one can say that prior to having a PTS, one must first have a TTS, but other than that, there really isn't much of a relationship between the two.
A person who goes to a rock concert and suffers a 25 dB TTS after a three hour performance is not more susceptible to future PTS than one who suffers no TTS. TTS is simply not a predictor of PTS. And we really don't have a good predictor of PTS. Some people are indeed more susceptible to hearing loss from noise or music, but we have no way of telling who is whom.
This should not be that surprising however. The underlying mechanisms for TTS and PTS are actually quite different. In the case of TTS, the concentration of Glutamate (a neurotransmitter substance found in the synapse of the inner hair cells) can reach ototoxic levels when a person is exposed to high levels of noise or music. After 16-18 hours, the Glutamate levels return to a normal level which is why it takes about 16-18 hours for hearing to return to a baseline level after exposure to loud noise or music. Mechanically the tectorial membrane also becomes disconnected from the tips of the outer hair cells during TTS and it takes some time for them to re-establish their normal mechanical relationship.
In contrast, PTS is related to cell death- necrosis or apoptosis. Apoptosis is a more common process where cells are gradually and passively disassembled over time. The loss of hair cells eventually results in a measureable hearing loss. Necrosis is a much more active and destructive process where the cells "explode" and their cytoplasmic contents are dumped into a region of neighboring cells. This typically results in cell death over a wide range of locations and associated frequencies.
Given the differing mechanisms of pathology in the cochlea for PTS and TTS, it is not really surprising that the two don't have a predictive or one-to-one relationship.
Clinically if we see a client who is quite concerned that they experienced a large TTS, at least we can tell them that they shouldn't worry too much. They should wear hearing protection, but I would say that to all of their friends regardless of whether they experienced TTS or not.
So…what does TTS tell us about PTS? …. not much.


text:
package org.apache.airavata.gfac.impl.task;

import com.jcraft.jsch.JSchException;
import com.jcraft.jsch.Session;
import de.fzj.unicore.bes.client.ActivityClient;
import de.fzj.unicore.bes.client.FactoryClient;
import de.fzj.unicore.bes.faults.UnknownActivityIdentifierFault;
import de.fzj.unicore.uas.client.StorageClient;
import de.fzj.unicore.wsrflite.xmlbeans.WSUtilities;
import eu.unicore.util.httpclient.DefaultClientConfiguration;
import org.apache.airavata.common.exception.AiravataException;
import org.apache.airavata.common.exception.ApplicationSettingsException;
import org.apache.airavata.gfac.core.GFacException;
import org.apache.airavata.gfac.core.GFacUtils;
import org.apache.airavata.gfac.core.SSHApiException;
import org.apache.airavata.gfac.core.authentication.AuthenticationInfo;
import org.apache.airavata.gfac.core.cluster.ServerInfo;
import org.apache.airavata.gfac.core.context.ProcessContext;
import org.apache.airavata.gfac.core.context.TaskContext;
import org.apache.airavata.gfac.core.task.JobSubmissionTask;
import org.apache.airavata.gfac.core.task.TaskException;
import org.apache.airavata.gfac.impl.Factory;
import org.apache.airavata.gfac.impl.SSHUtils;
import org.apache.airavata.gfac.impl.task.utils.bes.*;
import org.apache.airavata.model.appcatalog.computeresource.JobSubmissionInterface;
import org.apache.airavata.model.appcatalog.computeresource.JobSubmissionProtocol;
import org.apache.airavata.model.appcatalog.computeresource.UnicoreJobSubmission;
import org.apache.airavata.model.appcatalog.gatewayprofile.StoragePreference;
import org.apache.airavata.model.appcatalog.storageresource.StorageResourceDescription;
import org.apache.airavata.model.application.io.DataType;
import org.apache.airavata.model.application.io.InputDataObjectType;
import org.apache.airavata.model.application.io.OutputDataObjectType;
import org.apache.airavata.model.experiment.UserConfigurationDataModel;
import org.apache.airavata.model.job.JobModel;
import org.apache.airavata.model.status.JobState;
import org.apache.airavata.model.status.JobStatus;
import org.apache.airavata.model.status.TaskState;
import org.apache.airavata.model.status.TaskStatus;
import org.apache.airavata.model.task.TaskTypes;
import org.apache.airavata.registry.cpi.AppCatalogException;
import org.apache.airavata.registry.cpi.ExperimentCatalogModelType;
import org.apache.airavata.registry.cpi.RegistryException;
import org.apache.xmlbeans.XmlCursor;
import org.ggf.schemas.bes.x2006.x08.besFactory.*;
import org.ggf.schemas.jsdl.x2005.x11.jsdl.JobDefinitionType;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;
import org.w3.x2005.x08.addressing.EndpointReferenceType;

import java.io.File;
import java.io.IOException;
import java.net.URI;
import java.net.URISyntaxException;
import java.util.Arrays;
import java.util.Calendar;
import java.util.List;
import java.util.Map;

public class BESJobSubmissionTask implements JobSubmissionTask {
    private static final Logger log = LoggerFactory.getLogger(BESJobSubmissionTask.class);
    private DefaultClientConfiguration secProperties;

    private String jobId;
    private String hostName;
    private String userName;
    private String inputPath;
    private int DEFAULT_SSH_PORT = 22;
    private AuthenticationInfo authenticationInfo;

    @Override
    public JobStatus cancel(TaskContext taskcontext) throws TaskException {
        return null;
    }

    @Override
    public void init(Map<String, String> propertyMap) throws TaskException {
    }

    @Override
    public TaskStatus execute(TaskContext taskContext) {
        TaskStatus taskStatus = new TaskStatus(TaskState.CREATED);
        StorageClient sc = null;
        ProcessContext processContext = taskContext.getParentProcessContext();
        // FIXME - use original output dir
        setInputOutputLocations(processContext);
        try {
            // con't reuse if UserDN has been changed.
            secProperties = getSecurityConfig(processContext);
            // try secProperties = secProperties.clone() if we can't use already initialized ClientConfigurations.
        } catch (GFacException e) {
            String msg = "Unicorn security context initialization error";
            log.error(msg, e);
            taskStatus.setState(TaskState.FAILED);
            taskStatus.setReason(msg);
            return taskStatus;
        }

        try {
            JobSubmissionProtocol protocol = processContext.getJobSubmissionProtocol();
            JobSubmissionInterface jobSubmissionInterface = GFacUtils.getPreferredJobSubmissionInterface(processContext);
            String factoryUrl = null;
            if (protocol.equals(JobSubmissionProtocol.UNICORE)) {
                UnicoreJobSubmission unicoreJobSubmission = GFacUtils.getUnicoreJobSubmission(
                        jobSubmissionInterface.getJobSubmissionInterfaceId());
                factoryUrl = unicoreJobSubmission.getUnicoreEndPointURL();
            }
            EndpointReferenceType eprt = EndpointReferenceType.Factory.newInstance();
            eprt.addNewAddress().setStringValue(factoryUrl);
            String userDN = processContext.getProcessModel().getUserDn();

            CreateActivityDocument cad = CreateActivityDocument.Factory.newInstance();

            // create storage
            StorageCreator storageCreator = new StorageCreator(secProperties, factoryUrl, 5, null);
            sc = storageCreator.createStorage();

            JobDefinitionType jobDefinition = JSDLGenerator.buildJSDLInstance(processContext, sc.getUrl()).getJobDefinition();
            cad.addNewCreateActivity().addNewActivityDocument().setJobDefinition(jobDefinition);

            log.info("Submitted JSDL: " + jobDefinition.getJobDescription());

            // copy files to local
            copyInputFilesToLocal(taskContext);
            // upload files if any
            DataTransferrer dt = new DataTransferrer(processContext, sc);
            dt.uploadLocalFiles();

            JobModel jobDetails = new JobModel();
            jobDetails.setTaskId(taskContext.getTaskId());
            jobDetails.setProcessId(taskContext.getProcessId());
            FactoryClient factory = new FactoryClient(eprt, secProperties);

            log.info(String.format("Activity Submitting to %s ... \n",
                    factoryUrl));
            CreateActivityResponseDocument response = factory.createActivity(cad);
            log.info(String.format("Activity Submitted to %s \n", factoryUrl));

            EndpointReferenceType activityEpr = response.getCreateActivityResponse().getActivityIdentifier();

            log.info("Activity : " + activityEpr.getAddress().getStringValue() + " Submitted.");

            // factory.waitWhileActivityIsDone(activityEpr, 1000);
            jobId = WSUtilities.extractResourceID(activityEpr);
            if (jobId == null) {
                jobId = new Long(Calendar.getInstance().getTimeInMillis())
                        .toString();
            }
            log.info("JobID: " + jobId);
            jobDetails.setJobId(jobId);
            jobDetails.setJobDescription(activityEpr.toString());
            jobDetails.setJobStatuses(Arrays.asList(new JobStatus(JobState.SUBMITTED)));
            processContext.setJobModel(jobDetails);
            GFacUtils.saveJobModel(processContext, jobDetails);
            GFacUtils.saveJobStatus(processContext, jobDetails);
            log.info(formatStatusMessage(activityEpr.getAddress()
                    .getStringValue(), factory.getActivityStatus(activityEpr)
                    .toString()));

            waitUntilDone(eprt, activityEpr, processContext, secProperties);

            ActivityStatusType activityStatus = null;
            activityStatus = getStatus(factory, activityEpr);
            log.info(formatStatusMessage(activityEpr.getAddress().getStringValue(), activityStatus.getState().toString()));
            ActivityClient activityClient;
            activityClient = new ActivityClient(activityEpr, secProperties);
            // now use the activity working directory property
            dt.setStorageClient(activityClient.getUspaceClient());

            List<OutputDataObjectType> copyOutput = null;

            if ((activityStatus.getState() == ActivityStateEnumeration.FAILED)) {
                String error = activityStatus.getFault().getFaultcode()
                        .getLocalPart()
                        + "\n"
                        + activityStatus.getFault().getFaultstring()
                        + "\n EXITCODE: " + activityStatus.getExitCode();
                log.error(error);

                JobState applicationJobStatus = JobState.FAILED;
                jobDetails.setJobStatuses(Arrays.asList(new JobStatus(applicationJobStatus)));
                sendNotification(processContext, jobDetails);
                try {Thread.sleep(5000);} catch (InterruptedException e) {}

                //What if job is failed before execution and there are not stdouts generated yet?
                log.debug("Downloading any standard output and error files, if they were produced.");
                copyOutput = dt.downloadRemoteFiles();

            } else if (activityStatus.getState() == ActivityStateEnumeration.CANCELLED) {
                JobState applicationJobStatus = JobState.CANCELED;
                jobDetails.setJobStatuses(Arrays.asList(new JobStatus(applicationJobStatus)));
                GFacUtils.saveJobStatus(processContext, jobDetails);
                throw new GFacException(
                        processContext.getExperimentId() + "Job Canceled");
            } else if (activityStatus.getState() == ActivityStateEnumeration.FINISHED) {
                try {
                    Thread.sleep(5000);
                } catch (InterruptedException ignored) {
                }
                JobState applicationJobStatus = JobState.COMPLETE;
                jobDetails.setJobStatuses(Arrays.asList(new JobStatus(applicationJobStatus)));
                GFacUtils.saveJobStatus(processContext, jobDetails);
                log.info("Job Id: {}, exit code: {}, exit status: {}", jobDetails.getJobId(),
                        activityStatus.getExitCode(), ActivityStateEnumeration.FINISHED.toString());

//                if (activityStatus.getExitCode() == 0) {
//                } else {
//                    dt.downloadStdOuts();
//                }
                copyOutput = dt.downloadRemoteFiles();
            }
            if (copyOutput != null) {
                copyOutputFilesToStorage(taskContext, copyOutput);
                for (OutputDataObjectType outputDataObjectType : copyOutput) {
                    GFacUtils.saveExperimentOutput(processContext, outputDataObjectType.getName(), outputDataObjectType.getValue());
                }
            }
//            dt.publishFinalOutputs();
            taskStatus.setState(TaskState.COMPLETED);
        } catch (AppCatalogException e) {
            log.error("Error while retrieving UNICORE job submission.." , e);
            taskStatus.setState(TaskState.FAILED);
        } catch (Exception e) {
            log.error("BES task failed... ", e);
            taskStatus.setState(TaskState.FAILED);
        }

        return taskStatus;
    }

    private void copyOutputFilesToStorage(TaskContext taskContext, List<OutputDataObjectType> copyOutput) throws GFacException {
        ProcessContext pc = taskContext.getParentProcessContext();
        String remoteFilePath = null, fileName = null, localFilePath = null;
        try {
            authenticationInfo = Factory.getStorageSSHKeyAuthentication(pc);
            ServerInfo serverInfo = new ServerInfo(userName, hostName, DEFAULT_SSH_PORT);
            Session sshSession = Factory.getSSHSession(authenticationInfo, serverInfo);

            for (OutputDataObjectType output : copyOutput) {
                switch (output.getType()) {
                    case STDERR: case STDOUT: case STRING: case URI:
                        localFilePath = output.getValue();
                        if (localFilePath.contains("://")) {
                            localFilePath = localFilePath.substring(localFilePath.indexOf("://") + 2, localFilePath.length());
                        }
                        fileName = localFilePath.substring(localFilePath.lastIndexOf("/") + 1);
                        URI destinationURI = TaskUtils.getDestinationURI(taskContext, hostName, inputPath, fileName);
                        remoteFilePath = destinationURI.getPath();
                        log.info("SCP local file :{} -> from remote :{}", localFilePath, remoteFilePath);
                        SSHUtils.scpTo(localFilePath, remoteFilePath, sshSession);
                        output.setValue(destinationURI.toString());
                        break;
                    default:
                        break;
                }
            }
        } catch (IOException | JSchException | AiravataException | SSHApiException | URISyntaxException e) {
            log.error("Error while coping local file " + localFilePath + " to remote " + remoteFilePath, e);
            throw new GFacException("Error while scp output files to remote storage file location", e);
        }
    }

    private void copyInputFilesToLocal(TaskContext taskContext) throws GFacException {
        ProcessContext pc = taskContext.getParentProcessContext();
        StorageResourceDescription storageResource = pc.getStorageResource();
        StoragePreference storagePreference = pc.getStoragePreference();

        if (storageResource != null) {
            hostName = storageResource.getHostName();
        } else {
            throw new GFacException("Storage Resource is null");
        }

        if (storagePreference != null) {
            userName = storagePreference.getLoginUserName();
            inputPath = storagePreference.getFileSystemRootLocation();
            inputPath = (inputPath.endsWith(File.separator) ? inputPath : inputPath + File.separator);
        } else {
            throw new GFacException("Storage Preference is null");
        }

        String remoteFilePath = null, fileName = null, localFilePath = null;
        URI remoteFileURI = null;
        try {
            authenticationInfo = Factory.getStorageSSHKeyAuthentication(pc);
            ServerInfo serverInfo = new ServerInfo(userName, hostName, DEFAULT_SSH_PORT);
            Session sshSession = Factory.getSSHSession(authenticationInfo, serverInfo);

            List<InputDataObjectType> processInputs = pc.getProcessModel().getProcessInputs();
            for (InputDataObjectType input : processInputs) {
                if (input.getType() == DataType.URI) {
                    remoteFileURI = new URI(input.getValue());
                    remoteFilePath = remoteFileURI.getPath();
                    fileName = remoteFilePath.substring(remoteFilePath.lastIndexOf("/") + 1);
                    localFilePath = pc.getInputDir() + File.separator + fileName;
                    log.info("SCP remote file :{} -> to local :{}", remoteFilePath, localFilePath);
                    SSHUtils.scpFrom(remoteFilePath, localFilePath, sshSession);
                    input.setValue("file:/" + localFilePath);
                }
            }
        } catch (IOException | JSchException | AiravataException | SSHApiException | URISyntaxException e) {
            log.error("Error while coping remote file " + remoteFilePath + " to local " + localFilePath, e);
            throw new GFacException("Error while scp input files to local file location", e);
        }
    }

    private void setInputOutputLocations(ProcessContext processContext) {
        String localPath = System.getProperty("java.io.tmpdir") + File.separator + processContext.getProcessId();
        new File(localPath).mkdir();

        processContext.setInputDir(localPath);
        processContext.setOutputDir(localPath);
    }

    private DefaultClientConfiguration getSecurityConfig(ProcessContext pc) throws GFacException {
        DefaultClientConfiguration clientConfig = null;
        try {
            UNICORESecurityContext unicoreSecurityContext = SecurityUtils.getSecurityContext(pc);
            UserConfigurationDataModel userConfigDataModel = (UserConfigurationDataModel) pc.getExperimentCatalog().
                    get(ExperimentCatalogModelType.USER_CONFIGURATION_DATA, pc.getExperimentId());
            // FIXME - remove following setter lines, and use original value comes with user configuration data model.
            userConfigDataModel.setGenerateCert(true);
//            userConfigDataModel.setUserDN("CN=swus3, O=Ultrascan Gateway, C=DE");
            if (userConfigDataModel.isGenerateCert()) {
                clientConfig = unicoreSecurityContext.getDefaultConfiguration(false, userConfigDataModel);
            } else {
                clientConfig = unicoreSecurityContext.getDefaultConfiguration(false);
            }
        } catch (RegistryException e) {
            throw new GFacException("Error! reading user configuration data from registry", e);
        } catch (ApplicationSettingsException e) {
            throw new GFacException("Error! retrieving default client configurations", e);
        }

        return clientConfig;
    }

    protected String formatStatusMessage(String activityUrl, String status) {
        return String.format("Activity %s is %s.\n", activityUrl, status);
    }

    protected void waitUntilDone(EndpointReferenceType factoryEpr, EndpointReferenceType activityEpr, ProcessContext processContext, DefaultClientConfiguration secProperties) throws Exception {

        try {
            FactoryClient factoryClient = new FactoryClient(factoryEpr, secProperties);
            JobState applicationJobStatus = null;

            ActivityStateEnumeration.Enum activityStatus = factoryClient.getActivityStatus(activityEpr);
            while ((activityStatus != ActivityStateEnumeration.FINISHED)
                    && (activityStatus != ActivityStateEnumeration.FAILED)
                    && (activityStatus != ActivityStateEnumeration.CANCELLED)
                    && (applicationJobStatus != JobState.COMPLETE)) {

                ActivityStatusType activityStatusType = getStatus(factoryClient, activityEpr);
                applicationJobStatus = getApplicationJobStatus(activityStatusType);
                sendNotification(processContext,processContext.getJobModel());
                // GFacUtils.updateApplicationJobStatus(jobExecutionContext,jobId,
                // applicationJobStatus);
                try {
                    Thread.sleep(5000);
                } catch (InterruptedException e) {}

                activityStatus = factoryClient.getActivityStatus(activityEpr);
            }
        } catch(Exception e) {
            log.error("Error monitoring job status..");
            throw e;
        }
    }

    private void sendNotification(ProcessContext processContext,  JobModel jobModel) throws GFacException {
        GFacUtils.saveJobStatus(processContext, jobModel);
    }

    @Override
    public TaskStatus recover(TaskContext taskContext) {
        return execute(taskContext);
    }

    @Override
    public TaskTypes getType() {
        return TaskTypes.JOB_SUBMISSION;
    }

    protected ActivityStatusType getStatus(FactoryClient fc, EndpointReferenceType activityEpr)
            throws UnknownActivityIdentifierFault {

        GetActivityStatusesDocument stats = GetActivityStatusesDocument.Factory
                .newInstance();

        stats.addNewGetActivityStatuses().setActivityIdentifierArray(
                new EndpointReferenceType[] { activityEpr });

        GetActivityStatusesResponseDocument resDoc = fc
                .getActivityStatuses(stats);

        ActivityStatusType activityStatus = resDoc
                .getGetActivityStatusesResponse().getResponseArray()[0]
                .getActivityStatus();
        return activityStatus;
    }

    private JobState getApplicationJobStatus(ActivityStatusType activityStatus) {
        if (activityStatus == null) {
            return JobState.UNKNOWN;
        }
        ActivityStateEnumeration.Enum state = activityStatus.getState();
        String status = null;
        XmlCursor acursor = activityStatus.newCursor();
        try {
            if (acursor.toFirstChild()) {
                if (acursor.getName().getNamespaceURI()
                        .equals("http://schemas.ogf.org/hpcp/2007/01/fs")) {
                    status = acursor.getName().getLocalPart();
                }
            }
            if (status != null) {
                if (status.equalsIgnoreCase("Queued")
                        || status.equalsIgnoreCase("Starting")
                        || status.equalsIgnoreCase("Ready")) {
                    return JobState.QUEUED;
                } else if (status.equalsIgnoreCase("Staging-In")) {
                    return JobState.SUBMITTED;
                } else if (status.equalsIgnoreCase("FINISHED")) {
                    return JobState.COMPLETE;
                }else if(status.equalsIgnoreCase("Staging-Out")){
                    return JobState.ACTIVE;
                }
                else if (status.equalsIgnoreCase("Executing")) {
                    return JobState.ACTIVE;
                } else if (status.equalsIgnoreCase("FAILED")) {
                    return JobState.FAILED;
                } else if (status.equalsIgnoreCase("CANCELLED")) {
                    return JobState.CANCELED;
                }
            } else {
                if (ActivityStateEnumeration.CANCELLED.equals(state)) {
                    return JobState.CANCELED;
                } else if (ActivityStateEnumeration.FAILED.equals(state)) {
                    return JobState.FAILED;
                } else if (ActivityStateEnumeration.FINISHED.equals(state)) {
                    return JobState.COMPLETE;
                } else if (ActivityStateEnumeration.RUNNING.equals(state)) {
                    return JobState.ACTIVE;
                }
            }
        } finally {
            if (acursor != null)
                acursor.dispose();
        }
        return JobState.UNKNOWN;
    }

    /**
     * EndpointReference need to be saved to make cancel work.
     *
     * @param processContext
     * @throws GFacException
     */
    public boolean cancelJob(ProcessContext processContext) throws GFacException {
        try {
            String activityEpr = processContext.getJobModel().getJobDescription();
            // initSecurityProperties(processContext);
            EndpointReferenceType eprt = EndpointReferenceType.Factory
                    .parse(activityEpr);
            JobSubmissionProtocol protocol = processContext.getJobSubmissionProtocol();
            String interfaceId = processContext.getApplicationInterfaceDescription().getApplicationInterfaceId();
            String factoryUrl = null;
            if (protocol.equals(JobSubmissionProtocol.UNICORE)) {
                UnicoreJobSubmission unicoreJobSubmission = GFacUtils.getUnicoreJobSubmission(interfaceId);
                factoryUrl = unicoreJobSubmission.getUnicoreEndPointURL();
            }
            EndpointReferenceType epr = EndpointReferenceType.Factory
                    .newInstance();
            epr.addNewAddress().setStringValue(factoryUrl);

            FactoryClient factory = new FactoryClient(epr, secProperties);
            factory.terminateActivity(eprt);
            return true;
        } catch (Exception e) {
            throw new GFacException(e.getLocalizedMessage(), e);
        }

    }
}

redpajama_set_name: RedPajamaGithub


text:
"Learn By Doing": Interview With Award-Winning Actor JOSEPH GORDON-LEVITT And Producer JARED GELLER On Launching 'Class Projects' To Teach Creative Skills Through Their Collaborative Media Platform HITRECORD
"We want anybody to experience the joy that comes from being creative together with other people"
Door Georgina Lara Booth
JOSEPH GORDON-LEVITT is the extremely talented, award-winning, multi-hyphenate actor-director-screenwriter-producer known for starring in many smash hit films, such as 500 Days of Summer, Inception, Snowden, 50/50, Don Jon and Looper. Besides his extraordinary work in the film industry, he is also a successful entrepreneur having co-founded the collaborative media platform and production company HITRECORD - which won the 2020 Emmy Award for Outstanding Innovation in Interactive Media - together with the equally talented and award-winning producer JARED GELLER.
As an open online community for creative collaboration, HITRECORD brings together over a million artists around the world to create art of all kinds that no one individual could have created on their own. The platform has now also taken online learning and collaboration to the next level by launching exciting online classes called Class Projects. Each 'Class Project' - in creative disciplines such as acting, songwriting and photography - is taught by an artist or celebrity who shares their creative process and breaks it down into lessons. At the end of each lesson, students are prompted to contribute their works-in-progress, which all receive feedback, and cheer each other on while checking each other's contributions. Once the lessons have been completed, a finished work of art has been made and can then be shared with the broader HITRECORD community, or anywhere else.
Georgina Lara Booth interviewed Joseph Gordon-Levitt and Jared Geller - while they were attending Infinity Festival - and spoke with them about 'Class Projects', HITRECORD, their backgrounds and extraordinary award-winning careers in entertainment, film and entrepreneurship.
Hi Joseph and Jared! It is so lovely speaking with both of you. How are you?
Joseph Gordon-Levitt: "I am very well, thank you! How are you doing, Georgina?"
I am very well too! Thank you for asking, Joseph! So...tell me a bit about HITRECORD and your talk at the Infinity Festival!
Joseph: "Sure! HITRECORD is a community that I've been running for many, many years now. It's full of people that love being creative together and we are talking at Infinity Festival about a new part of our platform that we are just in the process of launching called 'Class Projects' - which are all about learning creative skills. For many years now, HITRECORD has been a community full of people that come and make all kinds of different art projects together, whether it's short films or music or stories, and so we are applying what we have built in an online community, creative process and culture to learning. People in our community have had HITRECORD for a long time as a way to learn to become more skilled artists, writers, musicians, actors, etc., so we have built an experience for that and for people to learn creative skills by doing creative things together!'
"Class Projects are our way of reaching out and inviting anybody who has that creative spark inside them to bring it out of themselves and grow as an artist."
What inspired you to start this particular project and development within your company?
Joseph: "Well, after all these years of doing it as a production company, we love the things that we have made together with our community, but what we find is that you can only be so inclusive when you are a production company. When we say "Hey world, we are making a TV show - come and contribute!", lots of people come and contribute, but only some of those contributions get to be in the show. What we wanted was to have a way for anybody to come and experience the joy and the fulfillment that comes from being creative together with other people. 'Class Projects' are our way of doing that - of reaching out and inviting anybody who has that creative spark inside them to bring it out of themselves and grow as an artist."
Jared Geller: "And what we have found, after doing this for years with the HITRECORD platform, is how to be creative and make things online with communities when you are making things out in the open. When you are building in public, people learn new skills by just being around others and see it all happen. What we are doing with 'Class Projects' is really creating a user experience that is more conducive to learning, but using what we have experienced over the last decade is to see how online communities create together and then creating, like I said, a user experience that really is specifically tuned to 'learning by doing'."
When you are talking about 'artists', what kind of artists are you aiming for with this project? Obviously, Joseph, you are an actor, but is this for performing artists, visual artists or any other kinds of artists?
Joseph: "All of the above! When I say 'creative people', I mean almost everybody, because I think most humans are creative and I think people don't pigeonhole themselves into one creative interest of being an actor or a musician or visual artist. I think more and more creative people who have that spark inside of them are interested in all of it. We see that in our community over and over again, like, someone will join Class Projects to participate in my acting class, for example, but then they say "oh interesting, here is a writing one I want to try and here's some photography and here's video editing!". It's all just self-expression and I think all those forms are inspiring!"
Joseph...you are also teaching an acting class, aren't you?
Joseph: "Yeah, I am teaching two Class Projects! One is an acting one and one is a writing one. Every Class Project has a teacher whether it's me or it's, you know, some other artist and the teacher breaks down their own creative process and says "okay, here is how I would do the project. I'm going to break it down for you step-by-step, so that you can do it too!" and that's pretty different than a lot of online learning. A lot of online learning is kind of more academic. It's more like talking about the craft in the abstract as opposed to saying "we are going to actually make something together and here are the steps".
A post shared by Joseph Gordon-Levitt (@hitrecordjoe)
What is your acting class about? I would love to join that class!
Joseph: "Yeah, definitely come check it out! The acting class is just my first one and I want to do more of it. It's called 'Voice Acting With Naturalism'. Voice Acting means it's not even on camera. It's just with your voice. 'Naturalism' means how to perform naturally - like you are just really talking - and so we perform a monologue and I take students through my process of how I would pick material, how I would do a cold reading, how I would study the material, practice and eventually perform it. I break that down into lessons that students do. All these people who have joined this Class Project are recording their own monologues and kind of doing it in the process that I like to do it when I perform a monologue and that is what every Class Project is! It's not just me saying "here is what I think about acting". It is "here is how I do this particular thing, let's do it together, so you can do it too!"
Jared: "I think that's one of the differentiators and that's why we call it 'Class Projects'. It's really an emphasis on the project to make something. If you frame it around a project, like, "okay, well if I were to perform a monologue, this is how I would go about doing it" and so Joe breaks down his process for how he would choose a choose a monologue, how he gets in the headspace, how he would perform it, but also thinking about what's going to be the most positive and - hopefully - the easiest way for people who are taking the class without any experience. I wouldn't consider myself an actor, but the fact that it's like you're doing a voice recording and it's not on camera, it makes anybody feel like they can do it! When it is project-focused, when you are teaching through the lens of a specific project, I think it is way more inclusive. It really makes people feel like they can actually do it."
So it is more interactive than a tutorial where students are just watching you teach them?
Joseph: "Yeah, so at the end of every lesson, the students contribute their work in progress and they are guaranteed feedback on their work in from a teacher's assistant. They are also doing it together with their fellow students and they also see each other's contributions, cheer each other on and give each other feedback. You don't just lean back and watch. The whole point is to actually do this...and I also hang out in the chat thread! I am fascinated to see how people interpret my process! Like, if I showed you how I like to do it, what would happen if you try to do that process as well? It is really interesting seeing what people do and getting to to interact with them."
Could you tell me about the background of HITRECORD and how it all started? How do you and Jared know each other?
Joseph: "Well, I can tell you a brief version of how HITRECORD started. I've been an actor my whole life. I quit acting for a while to go to college and when I tried to get back into it, I couldn't get a job and no one would cast me. I was like "okay, I'm not going to let these casting directors who won't cast me discourage me and I'm going to make my own things". I started making little short films, stories and songs and my brother helped me set up a little website, which we called HITRECORD after this kind of mantra of mine, like, "I'm going to be the one to push that button" - that round, red 'record button' became my symbol for being creative. The community started to form on this website that my brother helped me set up and this was in the mid-2000s. We noticed that in this little humble community, while some people were coming to check out what I was making, what a lot of people wanted to do was to make things together and collaborate. It has now become normal for people to, you know, collaborate in various ways online, but back then it was kind of a new idea. We thought it was really exciting and we leaned into it. Jared and I had been friends, because we met working on an off-Broadway play together, actually, but he said "hey, this community that you've got going on, your HITRECORD website, we could do more ambitious, creative projects in this kind of open and collaborative way". Jared and I ended up starting it together as a production company."
A post shared by Jared Geller (@jaredgeller)
"Class Projects are the newest and the best way to invite as many people as possible to get that experience and that joy and that meaning that can come along with making art and doing creative things together with other people."
So, what is your background, Jared? Do you have a background in entertainment or in business?
Jared: "What's funny is that Joe said that we met at an off-Broadway play that I was the Assistant Stage Manager for. That was around the year 2001, so yeah, I was a stage manager for a while and then I was a producer. I produced Broadway shows and live shows, you know, at Carnegie Hall and places like that. Joe and I would have these little art projects that we would do, just for fun, and when we saw this activity on the message boards of HITRECORD, back in like 2007 or 2008, we talked about the possibility of maybe starting a company together. I think we share a lot of the same creative sensibilities and creative ideas, so when we saw this activity online and we saw that people had this human inclination, this drive towards wanting to collaborate together, we said "how do we lean into that?" and for a long time we just called each other 'producer' and 'director' until just a couple of years ago. My background is in producing and Joe is an actor-director-writer and so we would play with those roles. As our company has grown, we've taken on, I guess, the more grown-up titles of 'President', 'CEO' and 'Co-Founders', but my background is more in partnering with creative people and helping to realize a creative vision that we want to tell together."
Joseph: "Yeah, and I think it's worth saying that the ethos that drove HITRECORD all the way back - when it was kind of just the fun and fulfillment that comes from making art together with other people - is the same ethos that's driving 'Class Projects' today. That and I think 'Class Projects' are the newest and the best way to invite as many people as possible to get that experience and that joy and that meaning that can come along with making art and doing creative things together with other people."
Do you have any dream person in mind who you would love to see as a teacher in your community? Joseph, is there anyone in particular who you've worked with in your career who you'd love to have as a teacher...?
Joseph: "Oh, I've invited some really great people! There are going to be some really great artists who are going to teach some Class Projects, but as exciting as it is to have, you know, well-known renowned artists teaching Class Projects, I also find it just as fulfilling, illuminating and inspiring when people are teaching who are not necessarily famous for what they do, but whose creative process is just as fruitful and unique and vivid and inspiring, so we're going to keep that variety. I really like that variety of having some of our teachers who are really well-known and some of them will be great artists, who are maybe less well-known, but just as great!"
"It's for anybody in the world who has that spark, who wants to be creative and who's always been curious about wanting to try writing or acting or making music, but never quite felt like knowing how"
What kind of students are you kind of aiming for? Can anyone in the world access your classes and be a part of your community?
Joseph: "Absolutely! Anybody in the world! We're still very new, but eventually we would love to do it in more languages, but yeah it's for anybody in the world who has that spark, who wants to be creative and who's always been curious about wanting to try writing or acting or making music, but never quite felt like knowing how. I think a lot of spaces on the internet don't exactly make you feel safe, because it feels like the goal is to become rich and famous or to become an influencer and get millions of followers and if you don't succeed in getting millions of followers, you have to feel like a failure, and we've done our best to kind of strip a lot of that baggage away and make it look this isn't about any of that. This is just about the fun and the joy and the meaning of making stuff!"
Jared: "And this is why people take piano lessons or go to a guitar center to buy guitars or buy adult colouring books...because people love to just be creative! Just the experience of being creative can be fulfilling and therapeutic."
Joseph: "Speaking of therapeutic, I think we're all experiencing a lot of anxiety nowadays. The world is an uncertain and unruly place. I know that one of the best ways to find peace and what makes me feel good is focusing on a creative process like sitting down and doing some writing, making some music or whatever it is that inspires me on that day, so I feel like participating on HITRECORD and 'Class Projects' right now is really fun, satisfying and a peaceful thing to do with your time."
Coming from an entertainment background, was it challenging for you to go into the start-up sphere and become entrepreneurs? What did you learn from doing all of this?
Joseph: "Yeah, we've really been learning as we go. When we first started HITRECORD, it was a production company, which we had much more of a background in. In the last few years especially, we've realized that if we're going to make this as inclusive as we want it to be, we need to build better technology and neither of us have a background in technology, but we've really learned a lot. We've come a long way and made some fantastic friends, mentors, advisors and collaborators in the tech space...and now I can tell you all about Silicon Valley, which I had no idea about, you know, three or four years ago."
You've done acting, producing, writing and now started a company...is there anything in particular that you like the most and would like to continue doing more than the others?
Jared: "You know, what's fun is figuring out things that you don't know how to do and you could apply that to anything - like music, writing or starting a company. What's fun is trying something new. If you're curious about it, it's a never ending learning situation."
Joseph: "Yes, the skills in one area apply to the other. Being an actor, for example, is all about understanding humans and being able to put yourself into the perspective of someone other than yourself. Well, that really applies a lot when you are designing a user experience for a media technology platform, because I have learned that when you are designing a user experience, they create what they call 'personas', which is almost the same thing as what we call 'characters' as actors. You are trying to understand that this 'persona' is a person who feels this way and is going to approach the user experience from this angle. If we put ourselves in their shoes, how will they feel about this user experience? Will it be helpful to them? Will it be clear to them? So, you are actually using a lot of the same skills that I have amassed as an actor and I always find that really fascinating figuring out where one discipline informs another."
What are your plans with your company? What are your long term goals that you would like to achieve?
Joseph: "I find myself fairly concerned with the state of art and creativity online nowadays. I think a lot of the culture around art and creativity is so focused on getting attention on fame and followers, because that is how a lot of the internet is built, and I think it is making a lot of artists anxious. They feel like they are supposed to succeed in this kind of 'attention economy' and become this 'million follower' influencer person and feel like they are failing if they are not achieving the numbers they are supposed to achieve. I feel like it's not healthy, it's not positive, it's not helping people feel good, it's not helping people express themselves. That is not to say that not also lots of great art and creativity that does happen online today, but with HITRECORD, what we have always tried to do is create an environment for our community of creative people that feels different. A community that's not all about fame, fortune and getting attention, but about the joy and the meaning from the creative process of doing it together with other people."
"Everybody's mind is different and my mind gets excited by an eclectic variety of things to focus on!"
How are you combining all this work as an entrepreneur with your acting career? What are you currently working on as an actor?
Joseph: "All the years we have been doing this, there has always been a back and forth between the work I do in the entertainment industry and the work I do with HITRECORD. When you are an actor, there is also down time when you are between jobs. Even when you are on set, like, I will be on set later today where I am shooting a show called 'Super Pumped' - which is the story of Uber. I am playing former CEO of Uber, Travis Kalanick, but in between camera angles there is always down time on a set and so I love going on HITRECORD to interact with the community or getting on the phone with our team and figuring out the things we need to do to make our community work better and make our user experience more valuable - especially now for our students and teachers on 'Class Projects', so I love the variety personally. Everybody's mind is different and my mind gets excited by an eclectic variety of things to focus on!"
You are voicing 'Jiminy Cricket' in the upcoming live-action-CGI animated film Pinocchio, directed by Robert Zemeckis. Are you also going to bring that character's voice to your class...?
Joseph: "Well, it's an incredible honour to get to play such an iconic role! It was such a dream when Bob Zemeckis offered me that role and, yes, it definitely applies to HITRECORD, because one of the classes I teach is a voice acting class. What we see in our community is a lot of people who might otherwise be daunted to try acting. If you take the camera away, and you say "forget the camera, just act with your voice", there is something really freeing and inspiring about that. That's what I am doing as Jiminy Cricket. I am not on-camera, I am just a voice, and I love voice acting! That's a big part of why I wanted that to be my first acting Class Project. So, yes, the skills that I use as Jiminy Cricket are some of those same skills that I am teaching about in my Class Project."
Is there anything in particular you would like to share with your community and with your fans?
Joseph: "Yes, I would wrap up to say to anybody out there who has that spark inside of them - and who is curious about writing, acting, music, drawing or any kind of creative process - you might not know exactly how to begin or what to do. You might say to yourself "I will do it tomorrow or next year", but I would say just come try it! You can get yourself into a regular routine of creating and expressing yourself that way. It will make you feel good. It is such a joyful part of life and what we have built with Class Projects is a way that can help you really do it! You won't just sit back and tell yourself you will do it later. We are going to take you by the hand, break it down into steps that you can do and you will actually do it! You will start writing, you will start acting, you will start making music! It's a lovely part of your day or your week and come and give it a shot! I think that when you have that appreciation for the creative process and you go through it, it will actually fulfill you way more than likes or comments or retweets. There is this wonderful musical called 'Sunday in the Park with George' and it's all about the creative process. There's a song called 'Look, I made a hat' where there wasn't a hat before and Seurat is talking about his creative process. It's just amazing when you go through this creative process and you have that understanding. By the end, you have made something, you feel really good about yourself and you are not necessarily relying on likes and retweets and things like that."
Jared: "I love that you referenced Sondheim, dude!"
A post shared by HITRECORD (@hitrecord)
TOPICS: Entertainment, Tech, Online Learning, Entrepreneurs, Art, Actors, Movies, Broadway, Hollywood, Interview, Inception, Creativity, Acting, Film Actor, Emmys, Silicon Valley, Film Company, Producer-director, Technology, Artistic, Actor, Actor-cinema, Joseph Gordon-Levitt, Robert Zemeckis, Film-production, Don Jon


NRONLINE: PERSECUTION OF M.E. CHRISTIANS DESERVES GENOCIDE LABEL……. – The Tundra Tabloids…….
NRONLINE: PERSECUTION OF M.E. CHRISTIANS DESERVES GENOCIDE LABEL…….
These are the people we should be giving preference to, if we are insistent upon bringing people here.
Timothy Shaw, associate director of the Religious Freedom Project at the Berkley Center for Religion, Peace, and World Affairs and associate professor of the Practice of Religion and Global Politics in the Government Department at Georgetown University, raised the rallying cry during a panel at the Religious Freedom Summit cosponsored by the Catholic University of America's School of Law, Baylor University, and the Berkley Center at Georgetown. The summit was in many ways a curtain-raiser for Pope Francis's trip to the United States this week, as Pope Francis has urged action and denounced silence.
Previous Post Previous Post FINNS PARTY PARLIAMENTARY GROUP SAYS CLOSE THE BORDERS……..


Alan Rickman's Hans Gruber had some profound insights into the soullessness of Western materialism.
In honor of Rickman, let us savor some of the choicest quotes from his role as the East German terrorist of Die Hard. Though he was always doomed to be vanquished by the modern-day cowboy John McClane, he managed to score a few philosophical victories along the way.
When they first talk to one another, over the phone, Gruber asks, "You know my name but who are you? Just another American who saw too many movies as a child? Another orphan of a bankrupt culture who thinks he's John Wayne? Rambo? Marshal Dillon?" Gruber is right, of course, that's exactly what McClane is, a pure product of a culture where identity is determined by what you have watched and consumed. But since this is a Hollywood movie, the only alternative to this entertaining if spiritually barren universe is that represented by Gruber himself: nihilism tinged with violence.
But even more damning is the line he delivers to arch-capitalist Joseph Takagi of Nakatomi Corporation shortly before his death: "Nice suit. John Phillips, London. I have two myself. Rumor has it Arafat buys his there." The inimical subtext is that Takagi's wealth and luxurious lifestyle amount to nothing in the face of death, which is undoubtedly true. The brilliance of the line is to throw in Arafat, whose function here is to be a symbol of terrorism, as if to say: Your view of the world is just as empty as mine.


It feels great to know that I am one of the top local real estate agents in Cedar Hill, TX. My website has a ton of resources that can help you search for your new home. Feel free to use my website, free of charge and with no strings attached. If you need representation or just have any questions at all, I'm always here to help. Call me today!
Contact Robby Setser at (972) 743-5667.


The Vale of White Horse District Council has installed new culverts under a causeway across a field next to the village. This will keep flood water moving rather than pooling in this field. Thank you to District Engineer Peter Dela.


text:
Tracts on docks and commerce, printed between the years 1793 & 1800: with an ...
By William Vaughan
NARRATIVE.
With these sentiments, it can hardly be expected that I should give the details of the birth, parentage, and life of a private individual. With all the allurements that are attached to biography, people are too apt to descend to the frolics of a school-boy, or the eccentricities of a man, which are little interesting to the public; and it would be better, I conceive, for a man's failings to die with him, and his virtues to live after him.
Suffice it to say, my parents were of good families, and much respected; they had eleven children; two died when young, and the remainder lived long after their parents, and were respected in their different stations of life.
As to myself, I was the second son of Samuel Vaughan, Esq., long a merchant in London, and Sarah, the daughter of Benjamin Hallowell, Esq., of Boston, Massachusetts. I was born on the 22d of Sept. 1752, a month and a year ever memorable in this country for the alteration of the Style; and, if it is of any further importance, my birthday is remarkable from the coronation of George III. having taken place on its anniversary in 1763, which, as long as he lived, was kept with public rejoicings.
My parents were desirous of giving their children a good and useful education; and my excellent mother paid great attention to their health, religion, morals, and temper.
I was placed at an early age at Mr. Newcome's school in Hackney, (one of the best private schools of the day,) and from thence was removed to the academy at Warrington, where my elder brother Benjamin had preceded me, and which is situated between Liverpool and Manchester, the seats of commerce and manufactures. At Warrington I derived many advantages from attending the various lectures on history, literature, and general knowledge, which
may perhaps have had a tendency to give a bent to some of my occupations in life, for which opportunities I feel grateful to my parents.
The academy at Warrington, at that period, was held in great estimation from the reputation of its tutors and the greater field they held out in promoting general knowledge and science on liberal principles, and many other pursuits not to be obtained in common grammar-schools. Dr. Aikin, the divinity tutor, was a man of great reputation, and was the parent of Dr. John Aikin and Mrs. Barbauld, whose literary works are well known to the public. Dr. Priestley was another tutor distinguished for his amiable character and kindness of manner as well as for his literary and philosophical pursuits, and for his lectures on history, &c. &c. My eldest brother Benjamin and myself resided in his house, and derived very great advantages from that circumstance.
My brother was possessed of considerable talents and general knowledge, which by perseverance made him conversant with philosophical pursuits, and introduced him to the acquaintance of many distinguished men.
After leaving Warrington he went to Cambridge, and thence to the Temple, where he studied law, and went subsequently to Edinburgh, where he studied medicine, but never practised either professionally. He was in Parliament for some time, and afterwards removed to America, and resided many years at Hallowell, in the State of Maine, where he continued his literary, scientific,
and agricultural pursuits. His valuable library was easy of access, particularly to medical men, and he was often with them at their consultations as a friend, but not professionally. He died in December, 1835, in his eightyfifth year, much beloved by his family and regretted by society. He was well acquainted with Sir Joseph Banks, Mr. Cavendish, Dr. Price, Dr. Franklin, Sir Charles Blagden, and Dr. Priestley, who, when he published his Lectures on History, in 1797, dedicated them to his pupil. His friendship and connexions with Dr. Franklin were intimate and lasting, particularly during the period when my brother was confidentially employed to promote the negociation for a peace with America. In 1779 he collected and published, without a name, the " Political, " Miscellaneous, and Philosophical Essays of Dr. Frank" lin," which was the best collection that could then be obtained. In 1796 a more enlarged collection of Dr. Franklin's papers, with his life, appeared in 3 vol. 8vo. which my brother also superintended. He afterwards, with other friends, prevailed on Dr. Franklin to collect his works and to write a memoir of his own life, which were subsequently published by his grandson, Temple Franklin, in 3 vol. 4to. * One copy of the manuscript life was sent to the Duke de la Rochefoucauld, at Paris, and another copy was sent to my brother, which the Doctor kindly permitted me to peruse. It remained some time in my possession, and I profited much from the life and
* There is a more recent publication of Dr. Franklin's Life, Works, and Letters, by Jared Sparks, in six volumes.
I have in my possession a good portrait of Dr. Franklin and his walkingcane, which he gave to my father, and which I greatly value.
writings of a man who was an ornament to society, and who ever considered utility as the great principle of life.
With respect to myself I shall only state that I attended all the lectures at Warrington except Divinity; it being intended that I should follow mercantile pursuits. My studies were much directed to geography, history, travels, and voyages of discovery. I took great interest in accounts of shipwrecks and other disasters at sea. I also saw and heard a great deal respecting canals, docks, manufactures, commerce, and population; and as small beginnings often lead to greater efforts, I was, in 1791, induced to join with some friends in endeavouring to procure a good collection of the history and plans of the canals of this country, with a view of forming a society for their encouragement; and, for this object, I wrote a prospectus, which appeared on the wrapper of the European Magazine ; but the attempt failed. A copy of this paper will be found in the Miscellaneous Part, No. 1.
In Dr. Rees' Cyclopædia will be found an accurate description of all the canals then made, making, and projected in England; and there is also another article in the same work which gives much information on the subject of docks. With a view to these objects I made a collection of all the plans of canals, both English and foreign, which I could meet with, with descriptions and details, forming three large folio volumes; and another collection on the subject of docks, which formed two volumes more, with various other documents connected with these subjects.
A society was also formed for the improvement of naval
architecture, and for collecting the best information on that subject, in which the late Colonel Beaufoy took the lead. Many experiments were made in the Greenland Docks of importance to science, which were conducted principally under his inspection ; and his son, Henry Beaufoy, Esq., of South Lambeth, has lately published an account of them in a princely style, giving the work to a great many public bodies and private individuals both at home and abroad.
Some of the first naval men of the time belonged to this society, and his late Majesty William IV. when Duke of Clarence, honoured it with his sanction. I often attended the committee with Colonel Beaufoy, Captain Laird, R.N., Mr. Daniel Brent, the ship-builder, and others; and I contributed a paper on naval architecture and the preservation of timber, a copy of which will be found in the Miscellaneous Part, No. 2.
In 1783 I was elected a Director of the Royal Exchange Assurance Corporation, and continued in it, first as director and afterwards as sub-governor and governor, until the year 1829, a period of forty-six years without intermission. This period embraced the most useful, important, and pleasant part of my life, during which I formed many friendships and attachments. Having some leisure, and wishing to make myself useful in that situation, I drew out various general and consolidated statements of the different branches of the concerns of the corporation for a century, namely, from the year 1720 to 1819 inclusive, for which I received the thanks of the Court, and they were pleased to adopt many of the hints and suggestions therein submitted to their consideration, and to request me


He has appeared in Philadelphia, New York, Boston, Argentina, and across the Midwest at music festivals, conferences, and symposiums. Andy has performed at SEAMUS and PASIC on several occasions and is a member of the PAS Music Technology Committee. His creative research centers on seamlessly integrating technology into performance to produce collaborative, multi-media presentations with writers, dancers, actors, choreographers, and composers. In 2016 he self-published a collection of works for solo percussion and live electronics available here.


I made a return trip to Coal Creek OHV area on Windrock mountain. The last time I was here was when I met the guys from the XJ list here.
There have been several changes since my last visit. Mainly the new windmills and the changes to the roads required to transport the windmills to the top of the mountain.
They now charge per person instead of per vehicle. This essentially doubles the cost for most trips but at $15 per person it is still a bargain.
Traveling with me this time was Robert in his Toyota pickup. Navigating for both of us was our friend Tom.
Even with three very skilled map readers, we got lost several times using the park provided map. Once we finally learned to ignore the new looking roads, we id much better at navigating, but still somehow ended up exiting the park in stead of back at the snack shack for lunch. We are still not sure how we did that.
What was most interesting about the day was the variety of trails. Most of the day we had dust to deal with. Then we found some rocks. Later we found these huge mud holes on the top of the mountain, I think my alternator fell victim to one of them as on the trip home it stopped charging. I drove 150 miles on the remaining battery.
What makes a great kiss?


text:
One of the big four clearing banks, Barclays has a history that can be traced back 300 years. It owns credit card business Barclaycard and has a strong investment banking arm in Barclays Capital to go with its high street retail presence. It employs almost 150,000 people around the world.
FTSE 100 bosses to meet President Donald Trump during UK state visit Rates by TradingView
Address: 1 Churchill Place, Canary Wharf, London, United Kingdom
Website: http://www.barclays.com
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text:
Cot Cover
Materials and Size
Patons Blanket Wool
33 ins. x 42 ins – 24 ozs.
Small Quantity Patons Beehive Fingering, 4-Ply for Embroidery.
Knitting Needles, 1 pair UK No. 6/5mm/US 8
10½ stitches to 2 inches in width, measured over stocking stitch.
Cast on 160 stitches.
1st row: * K1, P1, rep. from * to end of row.
2nd row: * P1, K1, rep. from * to end of row.
Rep. 1st and 2nd rows once, then 1st row once.
** 6th row: (P1, K1) twice, P1, * P1, K5, rep. from * to last 5 sts, (K1, P1) twice, K1
7th row: (K1, P1) twice, K1, * P5, K1, rep. from * to last 5 sts, (P1, K1) twice, P1
8th row: (P1, K1) twice, P1, * K1, P1, K3, P1, rep. from * to last 5 sts, (K1, P1) twice, K1
9th row: (K1, P1) twice, K1, * K1, P3, K1, P1, rep. from * to last 5 sts, (P1, K1) twice, P1
10th row: (P1, K1) twice, P1, * K2, (P1, K1) twice, rep. from * to last 5 sts, (K1, P1) twice, K1
11th row: (K1, P1) twice, K1, * (P1, K1) twice, P2, rep. from * to last 5 sts, (P1, K1) twice, P1
12th row: (P1, K1) twice, P1, * K3, P1, K2, rep. from * to last 5 sts, (K1, P1) twice, K1
13th row: (K1, P1) twice, K1, * P2, K1, P3, rep. from * to last 5 sts, (P1, K1) twice, P1.
Rep. 10th and 11th rows once, then 8th and 9th rows once. **
Rep. from ** to ** twenty times, then from ** to 13th row incl. once.
Chart for rows 6 – 17: Note that row 6 is a wrong side row and begins on the left hand side of the chart
Work 5 rows in Moss Stitch. Cast off.
To Make Up
With a slightly damp cloth and warm iron, press lightly.
Using a single length of 4-Ply Wool embroider spots at corner of diamonds.
The original publication of this pattern is in the public domain, however, this updated digital version with chart is copyright Sarah Bradberry, July 27th 2012. All rights reserved.


text:
Patching for YAML documents

Check out [yaml-diff](https://github.com/adius/yaml-diff) for the related diff functionality.