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Classrooms are centred on enabling learning. They are bright, spacious, well resourced. Each classroom has the most up to date and relevant technology to blend traditional and technological learning, to ensure excellence.
We dedicated visual and performing arts spaces, and a large full equipped theatre.
The science laboratory and the design and technology room house the materials needed for essential hands-on creative based learning.
The learning zone for both early years and our learning hub on the first floor offers the latest children's literature, non-fiction books and computer software. The state of the art gymnasium is equipped with facilities for football, basketball, volleyball and a host of other sports activities. The early years learning space behind the school and the large playground in front of the school is ideal for playing, outdoor sports and open-air learning activities.


text:
Third and final Brooklyn teen pleads guilty to Chinatown rape in July
The three suspects — who have all pleaded guilty — raped the 33-year-old victim, then took the victim's belongings and used her keys to break into her apartment in Chelsea. (Spencer Platt/Getty Images)
The last of three teens from a Brooklyn halfway house who sexually assaulting a woman in Chinatown pleaded guilty to rape on Friday.
Emmanuel Burrowes, 17, copped to rape, burglary and other counts and will be sentenced to between 5 and 15 years behind bars at a later date.
His co-defendants Eric Pek and Sanat Asliev, also 17, got the same deal previously.
Co-defendants Eric Pek and Sanat Asliev, also 17, copped to the same deal previously. (Photographer: Leonardo Patrizi/iStock/Getty)
The troubled trio allegedly found the 33-year-old victim nearly conked out at an internet cafe about 3:30 a.m. on June 1.
They brought her into the lobby of a nearby building and violently raped her, prosecutors said.
Burrowes, Pek and Asliev took the victim's belongings and used her keys to break into her apartment in Chelsea, prosecutors said.
"In just two hours, these defendants committed a spree of violent felonies across downtown neighborhoods," Manhattan DA Cyrus Vance Jr.
"The actions taken by these young men are truly unforgivable. No prison sentence can account for the pain and trauma that these defendants caused the survivor in this case, but I hope that these convictions will provide a sense of closure for her," Vance added.
new york rapes
new york robberies
cy vance

redpajama_set_name: RedPajamaCommonCrawl


text:
Miura and Berchelt to battle in potential thriller!
Every so often we, boxing fans, get a fight that we're incredibly excited about, even if the non-boxing-fan is unlikely to care about the contest. We get one such fight this coming weekend as heavy handed Japanese southpaw Takashi Miura (31-3-2, 24) [三浦 隆司] challenges WBC Super Featherweight champion Miguel Berchelt (31-1, 28) in a mandatory world title fight. The two men aren't cross over-stars by any stretch of the imagination, but they are fighters who deliver bang for their buck and are both must watch fighters with dynamite in their hands.
Berchelt is making his first defense of the title, a title he won last time out when he stopped Francisco Vargas in a real break out performance. It's worth noting that Vargas had himself taken the title from Miura in 2015, in a FOTY contender, but it did look like Vargas was a shell of his usual self against Berchelt. Now it may have been a case that Berchelt made Vargas look that bad, or it may well have been a case that Vargas had simply been broken down by wars with the likes of Miura and Orlando Salido.
If that win by Berchelt over Vargas was a sign of how good Berchelt was, as opposed to how shop worn Vargas was, then it's a sign that Berchelt is a real threat to anyone at 130lbs, including Vasyl Lomachenko. He looked like a fantastic boxer-puncher, moving brilliantly and delivering heavy shots on the move. Prior to the bout he had been known as a slightly crude boxer, more focusing on his power than his boxing, but against Vargas he showed everything that a fighter can show.
Blessed with natural power Berchelt has the ability to box, bang or brawl. He may not be quite as natural as Lomachenko in terms of his boxing, or as heavy handed as Gervonta Davis, but he combines the traits really well and looks more rounded than Davis already. It's also worth noting that he's only 25, so coming in to his prime, and despite having a loss on his record it does look like a blip, as opposed to a sign of issues. The loss was an opening round defeat to the unknown Luis Eduardo Florez more than 3 years ago, but since then he has gone 10-0 (10) with wins over Rene Gonzalez, Sergio Puente, Chonlatarn Piriyapinyo and Vargas. That sort of run seems to suggest that the loss was one that really helped Berchelt, rather than hindered his career.
For Miura this will be a chance to become a 2-time champion, rebuild his reputation as a Mexi-killer, have another thriller on international soil, potentially kick off a summer of Japanese success in the US and a summer to remember for the Teiken gym.
At his core Miura is a left hand happy southpaw brawler. He's rough around the edges, incredibly crude and a bit slow. But his left hand is pure dynamite and when he lands it any fighter can be in trouble. That should make him seem predictable but like most brawlers his shots aren't the most orthodox and due to his pressure and work rate his shots can come from real varied angles. His left hand is well known about, but almost no one has ever truly avoided it, and even those he hasn't stopped, such as Takashi Uchiyama, Sergio Thompson and Jorge Perez, have been dropped by his power. He really does have dynamite in his left hand, and his 67% KO rate really doesn't do his power justice.
Whilst offensive Miura is a nightmare his biggest issue is his defense. He's a fighter who has often gone with the idea "attack is the best form of defense", and that has worked well over-all but hasn't been perfect. As a result he's suffered stoppages to Uchiyama, when he face was badly swollen, and Vargas, when he was knocked loopy by the Mexican. Even in bouts he's won, such as his wins over Thompson, Miguel Roman, Seiichi Okada and RJ Anoos he was tagged a fair bit and had his defensive flaws picked at. In fact in some ways the Anoos fight may well be the key bout to look at coming into this one. That may be a strange statement but Anoos made great use of his speed and jab, keeping Miura at range and flicking quick shots into his face, something that Berchelt will likely do.
On paper this could really go one of three ways. It could be a blow out as soon as either guy lands, if they catch their man clean early on it could be an early finish, both are huge punchers and both have the potential to take the other out early. That's shown in the stats, as Miura has 12 wins in the first 2 rounds and Berchelt has 14. We could also see the two men showing the toughness to weather the early storm and engage in a real fire fight, which will see both take a lot of punishment and will give the fans their money's worth in an all out brawl, the fight we all want to see. The third option is that Berchelt's speed and movement will simply be too much for the hunger and desire of Miura and he will put shot from range, using his lighter feet and take control of the bout, before running away with a victory, either by decision or late stoppage.
We all really, perhaps even expect, a brawl. If we get that then the fight is a real 50-50, either man could take the other out. If Berchelt can avoid a brawl, box at range, as he did against Vargas, and use his movement, then he should be able to win. He will however have to try his best to avoid holding his feet and having a fight. The more they stand out trade, the better chance Miura has of taking the win.
We would love to see Miura become a 2-time champion, score his 7th win over a Mexican opponent and his third win on international soil. But we can't help feeling that Berchelt has the advantages needed to retain his title.
Chonlatarn hopes it's third time lucky as he faces Miguel Berchelt
Over the past 12 months we have seen a massive shake up of the Super Featherweight division. Just 10 months ago the divisional champions were Takashi Uchiyama, the then WBA "super" champion, Takashi Miura, the then WBC champion, Roman Martinez, the WBO champion, and Jose Pedraza, the IBF champion. Now, a year on, the champions are very different with the sudden emergence of Jezreel Corrales, who now holds the WBA "super" title, Franisco Vargas, the WBC title hold, Vasyl Lomachenko, the current WBO champion, and the only champion from a year ago is Pedraza, who was lucky not to lose his title in his first defense.
Whilst the title picture has had a shake up we have also seen "secondary" titles change hands or pop up with the WBA having the newly crowned Jason Sosa as their "regular" champion and the WBO having a rare "interim" champion in the form of Miguel Berchelt (29-1, 26), a genuinely exciting Mexican.
Berchelt makes the first defense of his title this coming weekend when he takes on hugely experienced Thai Chonlatarn Piriyapinyo (61-2, 41), who is getting his third shot at a "world" title, having lost to Lomachenko and Chris John in title bouts at Featherweight.
Whilst we're not usually a fan of "interim" titles, we will admit we do like it when they throw up bouts like this, one that look good on paper and should be fun when the fighters get in the ring.
For those who haven't seen the champion Berchelt is genuinely fun to watch. He's a little bit crude, a little bit defensively awkward but he's got the gift of power, in both hands. When he turned professional, aged 19, he reeled off stoppages for fun and swiftly moved to 21-0 (18). Those KO's left him feeling like superman and looking like he felt he could just walk through anything. That cost him in 2014, when he was stopped in 99 seconds by fellow puncher Luis Eduardo Florez.
The loss to Florez would have totally derailed lesser fighters but Berchelt has quickly rebuilt his momentum and reeled off 8 straight stoppage wins, including victories over Antonio Escalante, Rene Gonzalez and Sergio Puente, all fringe contenders, as well as George Jupp, who he beat for the interim title earlier this year.
Amazingly he's only 24, he's improving and with his power he's going to be a nightmare for anyone outside of the divisional elite, though he could make for some potential thrillers with the second tier guys in the division.
When it comes to Chonlatarn the first thing that strikes many fans is his impressive record which features more than 60 wins. Like many Thai's however those wins have regularly been over weak opponents and the number of decent names on his record is disappointing. On paper his best wins are two victories over fellow Thai Yoddamrong Sithyodthong, though Yoddamrong was well past his prime by then, a win over Vinvin Rufino and a victory over the under-rated Adones Aguelo. Not exactly outstanding for a man with more than 60 wins.
Whilst his best wins are lacking quality it is fair to say he has fought two tremendous fights in Chris John, who took a clear decision over him on 2012, and Vasyl Lomachneko, who totally schooled him in 2014. Notably those bouts were both at 126lbs, though it seems he feels he has filled out and is now competing at 130lbs, where he has been focusing all year.
Stylistically Chonlatarn is a bit of a one paced, pressure fighter who comes forward slowly and looks to work up close. Against John and Lomachenko that tactic was never going to work due to the huge difference in speed and skill, but against lesser fighters it has worked with Chonlatarn using his weight and strength to great advantage over lesser foes.
Sadly for Chonlatarn we don't think his style or ability bodes well here against a thunderously hard hitting Berchelt, who we suspect will hit him hard and hit him often, eventually forcing a stoppage of the limited but game Thai, likely in the middle rounds of the fight


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text:
Syrian VP: We are convinced that the clock arms shall not go back
Tuesday December 18th, 2012 by The Syrian Observer
"The various opposition forces - whether armed or civilian, or linked to foreign powers - cannot claim they are the sole legitimate representatives of the Syrian people," he added, calling for confidence-building measures between the regime and the rebels.
Syrian Vice President Faruq al-Sharaa said in an interview with Lebanese daily al-Akhbar that neither the Syrian regime nor the opposition can win a decisive victory in Syria, and called for a "historic settlement," to end the everlasting crisis there.
"No opposition can end the battle militarily, just as the security forces and army cannot achieve a decisive conclusion," Sharaa told the paper.
He said "every day that passes, we are moving further away from a military or political solution," adding that "we must position ourselves to defend Syria's existence – we are not in a battle for an individual or a regime." He did not define 'he', however.
"The various opposition forces – whether armed or civilian, or linked to foreign powers – cannot claim they are the sole legitimate representatives of the Syrian people," he added, calling for confidence-building measures between the regime and the rebels.
"This accord must first bring about an end to all forms of violence and establish a national unity government with broad powers," he added.
In the regime's relations with the Arab League, he blamed both sides. "Both the (Syrian) authority and the AL have made unforgettable mistakes," he said.
He said "No investigation committees have been formed, and when a few were formed, the findings were not published in the media, which affected the regime's credibility and image in front of the victims inside Syria and the observers outside Syria."
"We are convinced that the clock arms shall not go back," he added.
"The President, who holds all the state decision in his hands, may not give you an answer (on what to go from here.)"
This is the strongest criticism which a high-ranking political official in the Syrian regime addresses to the regime itself and even partly to president Assad. The following need to be highlighted:
Sharaa, 74, has served the regime for decades, both under Assad and under his father and predecessor Hafez al-Assad, but has been seen in public only a few times since the uprising erupted in March last year.
In his interview, he did not attack the opposition and although, he criticized it in certain places in his interview, he did not accuse it of treason or of being agents to the West.
He did not mention the word 'conspiracy' on which the entire discourse of the regime is based on.
His comments to Al-Akhbar were his first published statements since July last year, when he presided over a dialogue conference, which none of its recommendations have been ever implemented.
In October, Turkish Foreign Minister Ahmet Davutoglu suggested that the Vice President would be a suitable pick to lead a transition government, calling him "a man of reason" who could stop the civil war in the country.


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text:
[![GeometricalPredicates](http://pkg.julialang.org/badges/GeometricalPredicates_release.svg)](http://pkg.julialang.org/?pkg=GeometricalPredicates&ver=release)
[![Build Status](https://travis-ci.org/JuliaGeometry/GeometricalPredicates.jl.svg?branch=master)](https://travis-ci.org/JuliaGeometry/GeometricalPredicates.jl)
[![Coverage Status](https://coveralls.io/repos/JuliaGeometry/GeometricalPredicates.jl/badge.svg?branch=master)](https://coveralls.io/r/JuliaGeometry/GeometricalPredicates.jl?branch=master)

Fast, robust 2D and 3D geometrical predicates on generic point types.
Implementation follows algorithms described in the [Arepo paper](http://arxiv.org/abs/0901.4107)
and used (for e.g.) in the [Illustris Simulation](http://www.illustris-project.org/). License: MIT. Bug reports welcome!

How does it work?
--------------------
Calculations are initially performed on Float64 while bounding max
absolute errors. If unable to determine result, fall back to exact
calculation using BigInts. This is a form of floating point filtering.
Most calculations are cached for fast repeated testing of
incircle/intriangle predicates.

Current limitations
--------------------
* Due to the numerical methods used, all coordinates are internally represented as Float64. In addition all must reside in the range `1.0<=x<2.0`. In this range, according to IEEE754, Float64s have a constant exponent, hence their mantissa can be used for a one to one mapping to integers, which in turn are used for exact calculations using BigInts.
* It is assumed that primitive vertices don't overlap. It is currently the responsibility of the user to make sure this is the case.
* It is assumed tetrahedron vertices don't all lie in the same line. It is the user's responsibility to make sure it is so.
* Testing points are assumed not to overlap any vertices. As usual, it is the user's responsibility to make sure this is the case.
Except for the 1st restriction, all others could be easily implemented.  Currently these features are not needed by me. If you need missing features, please open an issue I may develop it!

How to use?
--------------
###Installation
```Julia
Pkg.add("GeometricalPredicates")
```
###Points
```Julia
using GeometricalPredicates

# create a 2D point in (x, y) = (1.1, 1.9)
mypoint = Point(1.1, 1.9)
typeof(mypoint) # -> Point2D

# create a 3D point in (x, y, z) = (1.1, 1.9, 1.5)
mypoint = Point(1.1, 1.9, 1.5)
typeof(mypoint) # -> Point3D

# getting coordinates:
getx(mypoint) # -> 1.1
gety(mypoint) # -> 1.9
getz(mypoint) # -> 1.5
```
`Point2D` inherits from `AbstractPoint2D`and `Point3D` inherits from `AbstractPoint3D`.
You can implement custom point types by inheriting from these abstract types. These
custom point types can be used with the rest of the package:
```Julia
type MyCustomPointType <: AbstractPoint2D
    _x::FLoat64
    _y::Float64
    _mass::Float64
end

getx(p::MyCustomPointType) = p._x
gety(p::MyCustomPointType) = p._y
```
implementing `getx`, `gety`, and `getz` for 3D points is necessary
as this is the interface the package is expecting. These function should return `Float64`.
Points can be either immutables or types. Default `Point2D` and `Point3D` are immutables.

The point coordinates must reside in a region `1.0 <= x < 2.0`. Read above on
why this limitation is necessary. For convenience there are 2 constants defined,
`min_coord` and `max coord` representing the minimal and maximal feasible values
of coordinates.

###Triangles and Tetrahedrons (..aka Primitives)
A triangle is the 2D primitive, and a tetrahedron is the 3D primitive.
```Julia
# create a triangle using 3 points
a = Point(1.1, 1.1)
b = Point(1.9, 1.1)
c = Point(1.1, 1.9)
mytriangle = Primitive(a, b, c)
typeof(mytriangle) # -> UnOrientedTriangle{Point2D}
```
The triangle is unoriented in the sense that orientation is not-known in advance,
it is not immutable and it could change if points in the triangle are updated.
The orientation needs to be calculated when the triangle is created and when
points within are updated. Read below for the definition of orientation. The
triangle could be created using any points inheriting from `AbstractPoint2D`
which implement `getx` and `gety`, or using coordinates directly:
```Julia
mytriangle = Primitive(1.1, 1.1, 1.9, 1.1, 1.1, 1.9)

# Getting point `a` in the triangle
geta(mytriangle) # -> Point2D(1.1, 1.1)
getb(mytriangle) # -> Point2D(1.9, 1.1)
getc(mytriangle) # -> Point2D(1.1, 1.9)
```
The same goes for tetrahedrons, except we now use 4 3D points instead of 3 2D ones:
```Julia
# create a tetrahedron using 4 points
a = Point(1.1, 1.1, 1.1)
b = Point(1.9, 1.1, 1.1)
c = Point(1.1, 1.9, 1.1)
d = Point(1.1, 1.1, 1.9)
mytetraedron = Primitive(a, b, c, d)
typeof(mytetrahedron) # -> UnOrientedTetrahedron{Point3D}
```
For certain applications we use primitives with known orientation. In those cases
there should be no need to calculate it. This is achieved by passing an `orientation`
flag to `Primitive` creation function:
```Julia
mytetrahedron = Primitive(a, b, c, d, positivelyoriented)
typeof(mytetrahedron) # -> PositivelyOrientedTetrahedron{Point3D}
orientation(mytetrahedron) # -> constant 1, not calculated
mytetrahedron = Primitive(a, b, c, d, negativelyoriented)
typeof(mytetrahedron) # -> NegativelyOrientedTetrahedron{Point3D}
orientation(mytetrahedron) # -> constant -1, not calculated
```
Note that when the primitive is oriented the real orientation is never calculated.
It is assumed that the user knows what he's doing. If in doubt, just use unoriented
primitives at the cost of actual calculation.

Updating points in primitives can be done with `seta`, `setb`, etc. methods:
```Julia
seta(mytriangle, Point(1.7, 1.7))
```
Updating a point in a primitive will fire all relevant pre-calculations. I.e. if the triangle
is unoriented then orientation will be calculated. If is oriented then still a few other
pre-calculations will be done, but a few less. If there is need to update a number of points
it is thus more efficient to do so in a group update:
```Julia
setab(mytriangle, Point(1.7, 1.7), Point(1.3, 1.1))
setbcd(mytetrahedron, Point(1.1, 1.1, 1.2), Point(1.2,1.1,1.3), Point(1.4,1.1,1.2))
```
combinations for all points exist. The name always contains the point names
in alphabetical order. As long as inner primitive data is not changed manually, it will
keep giving correct results for all functions in this package.

###Predicates
`incircle` is the popular name to test whether a point lies inside of the sphere
defined by the primitive points:
```Julia
a = Point(1.1, 1.1)
b = Point(1.5, 1.1)
c = Point(1.1, 1.5)
mytriangle = Primitive(a, b, c)
incircle(mytriangle, Point(1.9, 1.9)) # -> -1, i.e. outside
incircle(mytriangle, Point(1.2, 1.2)) # -> +1, i.e. inside
incircle(mytriangle, Point(1.5, 1.5)) # ->  0, i.e. point is exactly on circle
```
There is one more possibility. If the circle defined by our primitive has infinite radius
then it is impossible to tell whether the point is inside or outside:
```Julia
a = Point(1.1, 1.1)
b = Point(1.2, 1.2)
c = Point(1.3, 1.3)
mytriangle = Primitive(a, b, c)
incircle(mytriangle, Point(1.3, 1.4)) # -> +2, i.e. cannot tell
```

`intriangle` is a popular name to test whether a point lies inside of the primitive:
```Julia
a = Point(1.1, 1.1)
b = Point(1.5, 1.1)
c = Point(1.1, 1.5)
mytriangle = Primitive(a, b, c)
intriangle(mytriangle, Point(1.2, 1.2)) # -> +1, i.e. inside
intriangle(mytriangle, Point(1.6, 1.6)) # -> -1, i.e. outside
intriangle(mytriangle, Point(1.3, 1.1)) # ->  4, i.e. exactly on ab
intriangle(mytriangle, Point(1.1, 1.3)) # ->  3, i.e. exactly on ac
intriangle(mytriangle, Point(1.3, 1.3)) # ->  2, i.e. exactly on bc

```
here any negative number means outside. The exact value gives some information regarding
the direction in which the point lies outside:
* `-1` means the test point is in front of a, and outside of the triangle
* `-2` means the test point is in front of b, and outside of the triangle
* `-4` means the test point is in front of c, and outside of the triangle
same goes for tetrahedrons. Note that the point could be both in front of a and b. In
cases as this one is arbitrarily chosen, all in name of performance.

`1` means test point is inside. But there are other possible positive values:
* `1 + 1 = 2` means the test point is in front of a, exactly on the triangle
* `1 + 2 = 3` means the test point is in front of b, exactly on the triangle
* `1 + 3 = 4` means the test point is in front of c, exactly on the triangle

same extends for tetrahedrons.

###Lines and Polygons

`orientation` tests for the primitive orientation. In 2D this means:
* ` 1` --> point `c` is to the left of the line defined by `ab` (with directionality from `a` to `b`)
* `-1` --> point `c` is to the right
* ` 0` --> point `c` is exactly on the line

in 3D it means:
* ` 1` --> point `d` is above the plane defined by `abc` (note "above" here means the direction of the plane normal, which depends on its orientation)
* `-1` --> point `d` is below the plane
* ` 0` --> point `c` is exactly on the plane

Another convenience API to test for orientation in 2D is using a line. It has some performance advantages over creating a triangle:
```Julia
a = Point(1.1, 1.1)
b = Point(1.5, 1.5)

l = Line(a, b)
println(orientation(l, Point(1.4, 1.6))) # -->  1
println(orientation(l, Point(1.4,1.05))) # --> -1
println(orientation(l, Point(1.4,1.40))) # -->  0
```

One can also create simple 2D polygons:
```Julia
ll = Point(1.0,1.0)
lr = Point(1.2,1.0)
ur = Point(1.2,1.2)
ul = Point(1.0,1.2)
poly = Polygon(ll, lr, ur, ul)
inpolygon(poly, Point(1.1,1.1))  # assumes it is convex
```

###Basic geometrical properties
`orientation` gives the primitive orientation. `area`, `volume`, `centroid`, `circumcenter`, `circumradius2` are all exported and I hope self descriptive.

###Spatial ordering
Scale and scale-free Peano-Hilbert ordering is available. Look [here](http://doc.cgal.org/latest/Spatial_sorting/index.html) for a nice explanation on Hilbert sorting and [here](http://doc.cgal.org/latest/Spatial_sorting/classCGAL_1_1Multiscale__sort.html) for a nice explanation of multiscale sort. Both are implemented here:

```Julia
p = Point(1.1, 1.2)
peanokey(p, 4) # -> 6, the peano key in a regular grid of 2^4 X 2^4 cells

p = Point(1.1, 1.2, 1.3)
peanokey(p, 4) # -> 94, the peano key in a regular grid of 2^4 X 2^4 X 2^4 cells
```
The number of cells doesn't need to be specified. The default for 2D is `2^31 X 2^31` and for 3D `2^21 X 2^21 X 2^21`.
You can also do the inverse, and get a point from a key:
```Julia
Point2D(6, 4) # -> Point2D(1.0625,1.1875)
```
in a finer grid we would get back something more accurate.

So that was scale-dependent Hilbert stuff, which is good to say balance workload between computing nodes.
When you need to order particles spatially it is better to use a scale independent method, like the Hilbert ordering here:
```Julia
a = [Point(1.0+rand(), 1.0+rand() for i in 1:1e6]
hilbertsort!(a)
```
Here keys are never calculated, and there is no grid, it uses a median policy, adjusting to the actual
point distribution. There are a few parameters with good defaults, see links above to understand what they mean.
For an algorithm such a Delaunay tesselation it is sometimes better to use a multi-scale sort with a Hilbert sort, like this:
```Julia
mssort!(a)
```
of course this adds a few more default parameters, again with decent defaults, read above links to understand.

redpajama_set_name: RedPajamaGithub


text:
\section{\label{Introduction}Introduction}

Recently we reported tentative evidence of Planck-scale structure at black hole event horizons \cite{Abedi:2016hgu} using the public data release for the three Advanced LIGO
black hole merger events GW150914, LVT151012 and GW151226. Accounting for the ``look elsewhere'' effect due to uncertainty in the echo template, we find tentative evidence for Planck-scale structure near black hole horizons at $2.9\sigma$ significance level (corresponding to false detection probability
of 1 in 270).

The key property of the signal that we searched for is a series of damping echoes within the time intervals of:
\begin{eqnarray}
\boxed{\Delta t_{{\rm echo}, I }({\rm sec})
=\left\{
 \begin{matrix}
  0.2925 \pm 0.00916 & I= {\rm GW150914} \\
0.1013 \pm 0.01152 & I={\rm GW151226} \\
 0.1778 \pm 0.02789 & I={\rm LVT151012}
 \end{matrix}
 \right.}
\nonumber\\  \label{t_echo_meas}
 \end{eqnarray}
This prediction follows from combining the linear perturbation theory with the Planck-scale hypothesis, using the reported constraints on the final redshifted masses and spins of the remnant black holes \cite{TheLIGOScientific:2016pea}. As such, the reported errors are dominated by the LIGO {\it detector noise}.

There is further {\it theoretical uncertainty} on the time-delay from merger until the first echo, given that the metric perturbations are non-linear close to the merger event:
\begin{equation}
x \equiv \frac{t_{\rm echo} - t_{\rm merger}}{\Delta t_{\rm echo}} = 1 \pm {\cal O}(1 \%).
\label{nonlinear}
\end{equation}

Our primary method was then to maximize the signal-to-noise ratio (SNR) for the echo template and see whether there is a significant peak within the predicted range given by Eq. (\ref{nonlinear}). The significance is then quantified by how often a higher peak can be found elsewhere, within a similar interval. This is best demonstrated  in Fig.  (\ref{SNR_fig}), which is similar to Fig. 4 in  \cite{Abedi:2016hgu}, but over a larger range. Indeed, without any further analysis, our main conclusions are manifest in this figure:

\begin{figure*}
  \centering
    \includegraphics[width=\textwidth]{SNR_06.pdf}
    \caption{Same as Fig. 4 in \cite{Abedi:2016hgu}, but over an extended range of $x=\frac{t_{\rm echo} - t_{\rm merger}}{\Delta t_{\rm echo}}$. The SNR peaks at the predicted value of $x=1$ have 2.0$\sigma$ and 2.9$\sigma$ significance, for GW150914 and combined events respectively. }
 \label{SNR_fig}
\end{figure*}

For both GW150914 (the most significant reported LIGO event) and combined data from all three events, there are ubiquitous peaks within 0.54\% of $x = 1$, which is shown by the vertical grey bar (The width of the grey bar is the distance of the peaks from $x=1$). For GW150914, the significance is 2$\sigma$ (or a p-value of 5\%), meaning that comparable SNR peaks (from random noise) can be found within $\Delta x \simeq 0.0054/0.05 = 0.11$, as can be seen with other peaks at $x\simeq 0.91$ and $1.16$.  For the combined events, the significance is 2.9$\sigma$ (or a p-value of 1/270), i.e. comparable peaks can only be found within $\Delta x = 0.0054 \times 270 = 1.46$, which is also demonstrated in Fig. (\ref{SNR_fig}) as no higher peak can be seen within an interval of $\Delta x =1.2$.

 Indeed, the fact that the highest SNR peak in Fig. (\ref{SNR_fig}) is within $x-1=0.054$ of the theoretical prediction, while no higher peaks exists within a range of $\Delta x \gtrsim 1$ is a clear indication that this is unlikely to be mere coincidence. Even for GW150914 alone, which has a lower significance, after applying the time-delay due to finite speed of light, both Hanford and Livingston detectors see simultaneous SNR peaks near $x = 1$ (Fig. \ref{Hanford_Livingston}), which sounds very unlikely due to random chance.

\begin{figure}
  \centering
    \includegraphics[width=0.5\textwidth]{Hanford_Livingston.pdf}
    \caption{SNR$^{2}$ near the expected time of merger echoes (Eq. \ref{t_echo_meas}) for GW150914 in Hanford (red) and Livingston (green) detectors. Interestingly, their SNR ratio $2.74/3.37 = 0.81$ is comparable to the SNR ratio for the main event $13.3/18.6 = 0.72$. Note that, unlike Fig. (\ref{SNR_fig}), here we have fixed the echo parameters to their best fit values for combined detectors.}
 \label{Hanford_Livingston}
\end{figure}

With this introduction, let us now address the specific criticisms raised by Ashton et al. \cite{Ashton:2016xff}:

\begin {enumerate}

\item Ashton et al. point out that we find a slightly higher SNR$_{\rm best}$ for echoes in LVT151012, compared to GW150914, even though the SNR for the main event is lower by a factor of 2.4.  Is this surprising?

In fact, this is expected as constraints on final mass and spin of LVT151012 are significantly worse than GW150914. As a result, the relative error on $\Delta t_{\rm echo}$ is 5 times higher for LVT151012, compared to GW150914. This leads to larger values of SNR$_{\rm best}$ across the board, as we are searching a larger region of parameter space. This, however, does not necessarily lead to increased significance, as the same would be true for all values of $x$.

If there was no real echo signal in LVT151012 and GW151226, adding them to GW150914 would only dilute the significance of the peak near $x=1$. The fact that the opposite happens suggests that, in spite of larger variations in SNR  due to higher uncertainty in $\Delta t_{\rm echo}$, there is still significant enhancement in SNR near $x=1$ .

We should also caution about comparing the significance of the echoes with that of the merger events, as they have very different frequency structures (see Fig. \ref{Match_frequency}) leading to different SNR ratios, especially given the non-trivial frequency dependence of the LIGO detector noise.

Finally, we should warn about over-interpreting our quoted significances. Even though we gain comparable evidence for echoes by including LVT151012 and GW151226, i.e. $ 2^2+2^2 \simeq 2.9^2$, it doesn't mean that they have the same significance: A $2\sigma$ peak could be a 1-$\sigma$ fluctuation of a 1-$\sigma$ or a 3-$\sigma$ underlying signal.

For completeness, the individual amplitudes of the best joint fit are listed in Table (\ref{table_1}). We note that, even though best fit SNR's are comparable for the three events, the errors on the amplitude: $\Delta A$ = $A_{\rm best}$/SNR$_{\rm best}$ is much smaller for GW150914, given that $A_{\rm best}$ is the smallest. Therefore, as expected, GW150914 which is the most significant of the 3 LIGO events, would also dominate the combined constraint on the echo amplitude.

\begin{table}
\begin{center}
\begin{tabular}{ |c|c|c|c| }
\hline
\ \  & GW150914 & GW151226 & LVT151012 \\
 \hline
$|A_{\rm best, I}|$ & 0.091 & 0.33 & 0.34 \\
\hline
SNR$_{\rm best, I}$ & 4.13 & 3.83 & 4.52\\
\hline
\end{tabular}
\caption{ The best fit SNR's and amplitudes of individual events, for our joint echo template fit to the three events (see \cite{Abedi:2016hgu} for details). }\label{table_1}
\end{center}
\end{table}

\begin{figure}
  \centering
    \includegraphics[width=0.5\textwidth]{Match_frequency.pdf}
    \caption{Best fit templates for LIGO main events and echoes (using the joint best fit described in \cite{Abedi:2016hgu}), in Fourier space (similar to Fig. 3 in \cite{Abedi:2016hgu}). The amplitude spectral distribution (ASD) for each detector is shown for comparison.  }
 \label{Match_frequency}
\end{figure}

\item Ashton, et al. worry that railing up of the best-fit SNR values near the boundary of the parameter range, particularly the damping factor $\gamma_{\rm best}=0.9$, might pose a problem for our analysis (an issue that we discussed at length in \cite{Abedi:2016hgu}) . This indeed would be the case if the goal was to measure these parameters. However, that has not been our goal, as the parameters only quantify a toy model for the echoes. The  goal was rather to find whether the best-fit toy model, within the parameter range, is consistent with random noise. As we discussed in the introduction, we find that has a probability of $<$ 1\%.

As we argue in \cite{Abedi:2016hgu}, rather than pushing the parameters of a toy model to their extremes, in our opinion, it will be much more fruitful to find more physical echo templates.

\item Perhaps the most serious objection of Ashton, et al. concerns our estimation of significance, or false-detection probability (p-value).
As we outlined in the introduction, it is already clear from Fig. (\ref{SNR_fig}) that the p-value for our SNR peak near $x=1$ should be $\lesssim 0.1$  and $\lesssim 0.01$, for GW150914 and combined events, respectively.

 The main criticism of Ashton, et al. stems from us quantifying our p-values by considering how often random intervals of size $\Delta x =0.0054$ have an SNR bigger than the peaks we observe at $x=1.0054$, while we should have actually allowed for different choices of $\Delta x$. This would depend on the prior for $\Delta x$: the larger the prior, the the higher would be the p-value.

 \begin{figure}[t]
  \centering
    \includegraphics[width=0.5\textwidth]{echo_prior.pdf}
    \caption{Resulting prior distribution on  $x=\frac{t_{\rm echo} - t_{\rm merger}}{\Delta t_{\rm echo}}$, assuming a random phase for the echo template. }
 \label{echo_prior}
\end{figure}

 However, we already have a decent idea about this prior from Eq. (\ref{nonlinear}) which suggests $\Delta x = {\cal O}(0.01)$, not far from what we used. We can get a more concrete handle on this prior by assuming that the echo template acquires a random phase (with respect to the main event) due to nonlinear propagation effects. Figure (\ref{echo_prior}) shows the resulting prior on $\Delta x$, which we find by replacing the data in our SNR computation (for GW150914) by the echo template with a random phase, and finding the position of the peak.  This results in a near top-hat prior with $-0.01 <\Delta x <0.01$ (an interval of $0.02$ rather than $0.0054$), which slightly increases the p-value to 0.011 (or significance of 2.54$\sigma$).

Yet another way to quantify the significance would be to define a ``loudness'' function which averages the maximum likelihood for the echoes with a gaussian prior $x =1 \pm \sigma_{\rm echo}$, i.e. :
\begin{equation}
L(x,\sigma_{\rm echo}) \equiv \int \exp\left[{\rm SNR}_{\rm{total}}^{2}(x') \over 2\right] \times \frac{\exp\left[-\frac{(x-x')^{2}}{2\sigma^2_{\rm echo}}\right]}{\sqrt{2\pi \sigma^2_{\rm echo}}} dx'.\label{prior}
\end{equation}
\begin{figure}[t]
  \centering
    \includegraphics[width=0.5\textwidth]{p_value.pdf}
    \caption{An alternative false detection probability (p-value) as a function of uncertainty in $t_{\rm echo}$ defined in Eq. (\ref{prior}). }
 \label{p_value}
\end{figure}
We again use the LIGO data stream within the range 9-38 $\times  \overline{\Delta t}_{\rm{echo},I}$ after the merger event, to quantify how often $L(x,\sigma_{\rm echo})$ exceeds $L(1,\sigma_{\rm echo})$, for a given $\sigma_{\rm echo}$. This plotted in Fig. (\ref{p_value}), and provides an alternative p-value (or probability of false detection). This is also minimized at $\sigma_{\rm echo} \simeq 0.5\%$, with p-value of $0.01$ (or significance of $2.6\sigma$).

\item Ashton, et al. claim that our reported significance of $2.9\sigma$ based on p-value of $3.7 \times 10^{-3}$  corresponds to $2.7\sigma$ with a one sided significance convention. We disagree: we already consider one sided significance in our p-value estimation, since we just consider the absolute value of the SNRs.

\item Ashton et al. are concerned that the range 9-38 $\times  \overline{\Delta t}_{\rm{echo},I}$ after the merger event, which we use to quantify false detection probability, might be contaminated by the echoes and somehow affect our significance estimation. Firstly, this is unlikely, as the evidence for echoes remains marginal and nearly all LIGO data (away from the merger event) is dominated by noise. Secondly, p-value quantifies the probability of null hypothesis, i.e. how often you see the echoes, assuming that there are none. As such, to find p-value one should assume that LIGO data, away from the main event, is pure noise and use that to quantify detection probability, which was what we did.  Therefore, we find this criticism ill-founded.

Ashton et al. further advocate using larger stretches of LIGO data (which is publicly available) to define p-value more precisely. While this is in principle correct, LIGO noise is known to significantly vary and be very non-gaussian over long time-scales (see Fig's 14-15 in \cite{Martynov:2016fzi}), which makes the interpretation of p-value ambiguous. The 9-38 $\times  \overline{\Delta t}_{\rm{echo},I}$ interval used is quite adequate to quantify the p-value for our signal, as otherwise we would see a sharp cut-off in our SNR cumulative distribution (Fig. 5 in \cite{Ashton:2016xff}).

\end{enumerate}

To conclude, while the authors of \cite{Ashton:2016xff} have raised important questions about our tentative evidence for Planck-scale structure near black hole horizons \cite{Abedi:2016hgu}, we believe they do not affect our conclusions significantly. We have provided a careful assessment of these issues, along with various quantitative and qualitative arguments for why the false detection probability remains less than $1\%$ (or $>2.6\sigma$ significance).  These will be also further discussed and expanded in an upcoming revision of our original arXiv submission. Of course, the real test will be whether this evidence can be reproduced in independent analyses by other groups, and/or using other merger events.

\begin{acknowledgments}

{\em Acknowledgments}---  We  thank Vitor Cardoso and Luis Lehner for helpful comments and discussions. We also thank the authors of \cite{Ashton:2016xff} for their very constructive feedback, as well as providing us with fruitful holiday activities!

\end{acknowledgments}

redpajama_set_name: RedPajamaArXiv


text:
Dolan Mor (born January 30, 1968 in Pinar del Río City, Cuba) is a Cuban writer. In most of his works, he plays with fictional art of poetry, with false authorships, change of identities, or the use of diverse heteronyms. To elaborate such postmodern art of poetry, he combines different literary styles in his books. He also adds pictures of writers (sometimes invented characters), or photocopies of apocryphal manuscripts and non-existent bibliographies. He was pupil of Joseba Sarrionandia, a mysterious writer and linguist of The Basque Country. Mor lives in Aragon, Spain since 1999.

Works
El plagio de Bosternag (2004)
Las historias de Jonathan Cover (2005)
Seda para tu cuello (2006)
Nabokov's Butterflies (Premio de Poesia Delegación del Gobierno en Aragon [prize winner], 2007)
Los poemas clonados de Anny Bould (Premio Internacional Miguel Labordeta de Poesía [prize winner], 2008)
El libro bipolar (Premio Santa Isabel de Portugal [prize winner], 2009)
La novia de Wittgenstein (Premio Internacional Barcarola de Poesía [prize winner], 2010)
El idiota entre las hierbas (2010)

References

21st-century Cuban poets
Cuban male poets
Living people
1968 births
21st-century male writers

redpajama_set_name: RedPajamaWikipedia


Which wine is suitable for which food? Which flavors harmonize better together? And where can you find the perfect wine for dinner?
All these questions are answered by our master sommelier Frank Kämmer in our new series Wine & Dine. Every Wednesday you get the best tips fresh from the wine cellar. Look forward to the start of next week with FreshMagazine!
Here is a sneak peek of what we will discuss in this series.


text:
A former Newington High staff member was charged with sexually assaulting a student. The victim has now gone public with her complaints about the school.
Notorious leader of Hartford drug and gambling operation sentenced to life without parole in 'brutal' kidnapping-murder
The best places to get breakfast and brunch in the Hartford area
UConn athletics deficit jumps to $47.2 million in COVID-stricken 2021 fiscal year
Talk about a raise: These are the 50 jobs with the highest pay variance
Xfinity Theatre, Oakdale, other Connecticut Live Nation venues to require proof of vaccination or negative COVID test
Christmas At The Beach In Connecticut
The hardest-working major cities in America
Browse Today's Obituaries By Town
Viewer's guide to the UConn women's, men's basketball games locally and from across the country
Property of the Week: Hunter's Chase at Litchfield
By VALERIE BANNISTER
Fall is a great time to travel to Litchfield to check out the foliage, the quaint village center and the new townhomes at Hunter's Chase at Litchfield.
"We get a lot of traffic during this time," says Edite Calabrese, director of sales and marketing for Hunter's Chase. "If people are out leaf peeping, they might want to pop in."
Hunter's Chase at Litchfield is "a new luxury, maintenance-free community," says Calabrese. "It's non-age-restrictive and also pet-friendly." The townhomes, which start at $299,900, have two to three bedrooms, two-and-a-half baths and one- or two-car garages.
In addition, the community comes with a two-story clubhouse with fitness center and heated in-ground pool, basketball court and plans for a tennis court.
Hunter's Chase has the potential for 103 homes, with 40 already taken. All the homes have views of natural wooded areas that surround the community. The drive encircles a wooded center island, which increases privacy.
The community is surrounded by nature, but located just minutes from the Litchfield town center with its restaurants and boutiques bordering the town green. There are also vineyards, golf courses and parks nearby.
"It's basically your quintessential New England town," says Calabrese. "The school system is terrific," she adds.
Travel is also convenient since the homes are close to Routes 44 and 8, with Waterbury and Torrington being the closest cities.
Residents can take advantage of Infinity Hall and Bistro, a restaurant and live music venue in Norfolk. Litchfield is not far from New York City and the Berkshires, including Tanglewood Music Center in Lenox, Mass., the summer home of the Boston Symphony Orchestra and site of other musical events.
Calabrese leads a tour through two models at Hunter's Chase: the Hialeah and the Pimlico. An equestrian theme runs throughout the community with home styles also named after racetracks including the Salisbury, Belmont and Churchill.
As she steps outside, Calabrese notes the greenery along the walk. "One of the nice things is the landscaping," she says. The townhomes are ideal for people who want a second home or people who travel, because the homes are essentially maintenance-free. "It's a great lock-and-leave community," says Calabrese.
As she enters the Hialeah, Calabrese points out the open floor plan. She walks into a bright space that includes dining and living areas plus a kitchen with a center island and a fireplace that had been lit that morning.
"Our standard packages are very rich," says Calabrese. "It includes hardwood floors on the first floor, nine-foot ceilings, double crown moldings and shadow box wainscoting in the foyer." In the kitchen, granite countertops and stainless steel General Electric Profile appliances are standard.
The builder offers a wide variety of cabinets, tiles and granite so that homes can be individualized for different owners. "For the most part, we really custom build a property for them," says Calabrese. "Our developer is really open to letting people be creative and customizing."
Off the living room, sliding glass doors lead to a deck that can be enjoyed without worrying about wear and tear. "Pretty much everything on the exterior is maintenance-free," says Calabrese.
The homes have a lot of flexibility as far as space, too. There's potential for increasing the living area in the ground or upper levels, or both.
"The nice thing about the homes is that they have garden levels that can be finished," says Calabrese. In this Hialeah model, a wall of cabinets with a sink and bar had been installed on the lowest level, where another set of sliding glass doors leads to an outdoor patio.
All three bedrooms in the Hialeah and the Pimlico are on the upper levels, but models are also available with a master suite on the first floor.
The Hialeah's master suite includes a sitting area, two walk-in closets and a master bath. "All of the master suites come with a soaking tub, walk-in shower and double vanity," says Calabrese.
The Pimlico model has a "younger vibe," according to Calabrese. "The price point alone will be very attractive to the first-time buyer," she says.
The Pimlico has three bedrooms, but it also has potential for another room on the fourth level, with natural light coming in from skylights. "The Pimlico offers expansion on the fourth floor and also on the ground level," says Calabrese. One homeowner was using the upper level as an art studio.
"With this you get a lot of square footage. It's a lot of space for the money," says Calabrese. The Pimlico model starts at $299,900.
All the homes have propane heating, tankless on-demand hot water, air conditioning and municipal water and sewer. Common fees are currently $325 a month, which includes exterior maintenance and the recreational amenities.
The clubhouse provides an area for entertaining large groups or relaxing after dinner on the deck that overlooks the pool. Residents get a key and can come and go at their leisure. They also can reserve it for private parties. The clubhouse has surround-sound, a fireplace, kitchen and a service bar.
On the lowest level, beside the pool, is a fitness center for cardio and weight training, and shower facilities.
Currently, a variety of residents live at Hunter's Chase. "The community is a mix," says Calabrese. "There are a couple of families with children, retirees and professionals with a second home."
Angela Vecchio, an executive creative director for a marketing company, moved in more than a year ago after visiting the area from Fairfield County. She was thrilled both with the process and the outcome of her design choices. "I learned so much. It was really, really fun," she says.
Vecchio has been happy with her community and the town of Litchfield. "It's a lovely community with wonderful people," she notes. Vecchio was pleasantly surprised when the town hall sent her a hand-written note explaining that she had accidentally overpaid a bill. "That's really charming," she says.
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Vecchio also appreciates the landscape. "It definitely has a beautiful quietness to it. It just takes your breath away."
Hunter's Chase at Litchfield is open from 10 a.m. to 5 p.m. seven days a week. For more information contact Edite Calabrese, Director of Sales and Marketing at 860-921-5440 (office) or 201-437-5355 (cell).
Builder: My CT Dream Home
Price: $299,900 to $399,900
Style: Traditional with an open, airy interior
Rooms: 5 to 8
Square footage: 1,500 to 2,400 square feet
Acreage: 77 acres
Tax rate: 25.2 mills
Best features: Natural setting, recreational amenities, design flexibility
Contact: Edite Calabrese, Director of Sales and Marketing, Hunter's Chase at Litchfield, 860-921-5440 office, 201-437-5355 cell
Valerie Bannister is a freelance writer based in Chester.
Baths (music group)


text:
package org.springframework.web.filter;

import java.io.IOException;
import java.util.List;
import java.util.Locale;

import jakarta.servlet.FilterChain;
import jakarta.servlet.ServletException;
import jakarta.servlet.http.HttpServletRequest;
import jakarta.servlet.http.HttpServletRequestWrapper;
import jakarta.servlet.http.HttpServletResponse;

import org.springframework.http.HttpMethod;
import org.springframework.util.Assert;
import org.springframework.util.StringUtils;
import org.springframework.web.util.WebUtils;

/**
 * {@link jakarta.servlet.Filter} that converts posted method parameters into HTTP methods,
 * retrievable via {@link HttpServletRequest#getMethod()}. Since browsers currently only
 * support GET and POST, a common technique - used by the Prototype library, for instance -
 * is to use a normal POST with an additional hidden form field ({@code _method})
 * to pass the "real" HTTP method along. This filter reads that parameter and changes
 * the {@link HttpServletRequestWrapper#getMethod()} return value accordingly.
 * Only {@code "PUT"}, {@code "DELETE"} and {@code "PATCH"} HTTP methods are allowed.
 *
 *
The name of the request parameter defaults to {@code _method}, but can be
 * adapted via the {@link #setMethodParam(String) methodParam} property.
 *
 *
NOTE: This filter needs to run after multipart processing in case of a multipart
 * POST request, due to its inherent need for checking a POST body parameter.
 * So typically, put a Spring {@link org.springframework.web.multipart.support.MultipartFilter}
 * before this HiddenHttpMethodFilter in your {@code web.xml} filter chain.
 *
 * @author Arjen Poutsma
 * @author Juergen Hoeller
 * @since 3.0
 */
public class HiddenHttpMethodFilter extends OncePerRequestFilter {

	private static final List<String> ALLOWED_METHODS =
			List.of(HttpMethod.PUT.name(), HttpMethod.DELETE.name(), HttpMethod.PATCH.name());

	/** Default method parameter: {@code _method}. */
	public static final String DEFAULT_METHOD_PARAM = "_method";

	private String methodParam = DEFAULT_METHOD_PARAM;

	/**
	 * Set the parameter name to look for HTTP methods.
	 * @see #DEFAULT_METHOD_PARAM
	 */
	public void setMethodParam(String methodParam) {
		Assert.hasText(methodParam, "'methodParam' must not be empty");
		this.methodParam = methodParam;
	}

	@Override
	protected void doFilterInternal(HttpServletRequest request, HttpServletResponse response, FilterChain filterChain)
			throws ServletException, IOException {

		HttpServletRequest requestToUse = request;

		if ("POST".equals(request.getMethod()) && request.getAttribute(WebUtils.ERROR_EXCEPTION_ATTRIBUTE) == null) {
			String paramValue = request.getParameter(this.methodParam);
			if (StringUtils.hasLength(paramValue)) {
				String method = paramValue.toUpperCase(Locale.ENGLISH);
				if (ALLOWED_METHODS.contains(method)) {
					requestToUse = new HttpMethodRequestWrapper(request, method);
				}
			}
		}

		filterChain.doFilter(requestToUse, response);
	}

	/**
	 * Simple {@link HttpServletRequest} wrapper that returns the supplied method for
	 * {@link HttpServletRequest#getMethod()}.
	 */
	private static class HttpMethodRequestWrapper extends HttpServletRequestWrapper {

		private final String method;

		public HttpMethodRequestWrapper(HttpServletRequest request, String method) {
			super(request);
			this.method = method;
		}

		@Override
		public String getMethod() {
			return this.method;
		}
	}

}


Wire was originally made by chiselling thin strips from a sheet of metal. The strips were either twisted and then rolled between two flat surfaces to smooth them or spirally wound around a mandrel. Today wire is made by drawing rods of metal through conically shaped holes in a draw-plate. This system was first used in Persia in the 6th century BC but did not reach Europe until the 10th century AD when wire was first being produced on a commercial scale.
The iron wire trade made chain-mail, and also wool carders, girdles, chains, fish hooks and needles. Up until this time gold and silver wires were made almost exclusively for jewellery but during the Middle Ages embroidery became their principal use. In England, the two trades were governed by different bodies, the Broiders' Company and the Girdler and Pinmakers' Company. It was not until the late 17th century that they became distinctive guilds known as the Worshipful Company of Gold and Silver Wireworkers, and the Worshipful Company of Tin Plate Workers, or Wireworkers.
By the mid-16th century, there were at least 6,000 wire drawers in London alone and it was around this time that the first mechanical drawing machines were used in England. The water-driven draw-plate system used in these machines was invented by Rudolf of Nuremberg in the 14th century, but was not introduced to England until 1564. Gold and silver wirework flourished until the time of the French Revolution (1789-99), when fashions changed and the industry went into decline.
Artist Gavin Worth makes beautiful and elegant wire sculptures out of black steel wire.
Because of the corrodible nature of iron, very few examples of the broad range of objects once made from iron wire have survived to this day, save the items mentioned above and a few toys and traps. By the early 19th century, tinning and black-japanning had become popular ways of protecting the wireworker's craft. Not only did these treatments prevent rusting, they also helped cement items made from unsoldered wire.
America imported its wire from England and Germany until 1812, when the war with England meant that supplies were cut off. From this point, the Americans started building their own factories for producing wire. By the mid-19th century, the steam engine enabled wire, woven wire and wire fencing to be mass produced. The industry flourished, reaching its peak in Europe and America at the turn of the century, when an impressive range of products was available, from wire whisks and baskets to wire gazebos. The craft of wireworking was applied to every possible household device until the advent of plastic gradually led to its demise.
Despite this, wirework is still alive and well in many countries around the world, as shown by the many examples from Africa and Mexico. In Europe, with the renewed interest in folk art, the craft is enjoying a renaissance.


Teens Tracey Adams Amp; Nikki Charm Retro Ha .
Publicagent Cute Brunette Enjoys My Charm And Money.
Publicagent Attractive Brunette Likes My Charm And Money.
Publicagent Sweet Brunette Enjoys My Charm And Money.


As Valentine's Day approaches, most of us have been inundated with the red and pink frenzy of the holiday. Trips to the pharmacy, grocery store, and department store are now punctuated with aisles laden in enough chocolate, candy, and hearts to make anyone sick. And for my single readers, this can be the straw that breaks the single camel's back. Bubbling up from what was once a calm exterior of security is the irresistible urge to curse everything romantic with a resounding "Screw this holiday!!" I get it. This can be a tough time to be single. So I've decided to give a few tips on how to make the day a little more bearable and a lot less bitter.
1. Go on a friend date.
Okay. This is not a push to get into a tangled "Friends with Benefits" web. That was Soooo last year. This can be a daytime brunch, a trip to the mall, a visit to the museum, etc. You can even institute a no-flowers policy to remove the pressure and emphasize the fun. Remember that platonic friend you don't really get to hang out with since (s)he got that new job across town? Call them up and make plans. Don't even mention that it's Valentine's Day. Again, this is not a ploy to get into their pants. That's not self-love. That's desperation.
2. Tackle a project you've been putting off.
The bookcase you've been meaning to set up isn't going to build itself. Make V-day the day to do it. By the time you've run those errands and handled some business, you'll end the day feeling accomplished.
Your cousin had a baby how many months ago? Go see her and the new bundle of joy. Bring pampers (you can never go wrong with pampers) and wine. V-day is about love. Don't limit it to romantic love.
I'm a big proponent of this one. I get that not everyone is comfortable going on solo dates but they are a great chance to reconnect with yourself. Ladies, make an appointment at the spa you got a Groupon for 3 months ago, buy a bottle of wine that costs more than $8.00, and rent a movie. If you're feeling brave, have lunch or dinner with yourself and bring along a good book. I try to do this once a month (single or not) and I love it.
Leave work early Friday, hop in a bus or train, and stay in a hotel. Stay-cations can be awesome. You don't have to worry about cooking or cleaning and you'll make friends with folks who are away on business. If your sense of adventure is higher than average, go somewhere further than the next town over. For those of us in the Northeast, that can mean taking a trip to DC or even Vermont.
I had to learn a few years ago that Valentine's Day can be as enjoyable as you want it to be. Make it about loving yourself, first. The significant other will only serve as icing on the cake.


Western Hats – http://www.MikesCustomHatters.com Are you looking for most popular styles of cowboy hats? For ideal Texas hats, visit the site and get the most fashionable cowboy hats ever!
This entry was posted in Internet on February 9, 2019 by George Ramsey.


Alaska 1964 Earthquake Pictures - rare photos tell the incredible story of the destruction in Anchorage caused by the 9.2 quake that lasted 5 minutes.
Do you appreciate these pictures?
while you scroll down this page and look at the pictures.
The audio above was recorded by Robert Pate of KHAR radio in Anchorage.
This was recorded on Blueberry Road near the northeast corner of Northern Lights Blvd.
Buildings moved off their foundations left and right. Buildings torn apart, compressed and strong I-beams were twisted into what more closely resembled red licorice candy vines.
The power of this quake was unimaginable. And even those of us Alaskans who experienced it, will never be able to forget the memories that haunt us to this day.
The picture above shows huge concrete slabs that fell off the outside walls of the JC Penney building in down town anchorage, crushing cars below.
And, embedded in those concrete slabs were decorative pebbles that shook loose and showered the street, people and cars below like hail falling from the sky.
These Alaska 1964 earthquake pictures by Helen Bucy have an almost haunting quality about them.
It seems that no matter how many pictures and videos of the earthquake we see over the years, we can still be amazed by the sheer force of nature as captured by those who experienced that Good Friday earthquake.
Homes were pulled from their foundations and many in the Anchorage area known as Turnagain, slid toward the waters of Cook Inlet before coming to rest.
As you can see from these pictures, the powerful quake left many of these homes sitting on broken chunks of land with trees sticking out sideways and some homes above the dirt, some under and some torn apart.
Alaska 1964 earthquake pictures like the one above, remind us of just how destructive the Good Friday quake was to the people of Anchorage who saw their homes torn apart. In many cases, while they were home.
Imagine the horror of being inside the building pictured above as it came crashing down on the sidewalk below.
The book below was written by a then teenage girl who was in the JC Penney building when the quake struck and is her story of survival. A short, must read.
Only the top of the log home above remained after the earth finally stopped shaking.
Seeing these homes gives us a closer look at what the residents of Turnagain went through. The home above was torn in half.
and you'll get just an idea of what it must have been like for those of us who survived.
Once two homes, during the 1964 earthquake they were smashed together.
A home torn from it's drive way. Or was it a drive way torn from the home? Incredible destruction.
Alaskans who lived through this tragic earthquake, still remember many of the businesses that were destroyed by the powerful force of this 5 minute shaker.
And these Alaska 1964 earthquake pictures are an amazing reminder.
Unless you lived through this quake, it's hard to imagine the horrific impact of seeing your town destroyed like this.
There were so many shops, restaurants fun places to go window shopping that were simply gone when the earth finally stopped shaking.
As you look at these pictures, it's hard to imagine that before the 1964 earthquake, this was an Anchorage neighborhood.
After the earth stopped shaking, these homes looked more like they were just "dumped" near a sidewalk and left.
Amazing scenes of buildings that were once home to residents of Anchorage.
And these Alaska 1964 earthquake pictures are a reminder of the incredible force generated by the 9.2 earthquake.
These color pictures by Diane S. Smith of the destruction in and around Anchorage, caused by the Good Friday earthquake, are a look we don't often see.
Homes pushed from their foundations, businesses completely destroyed, lives forever changed.
Many of our favorite stores and shops were so badly damaged, that parts of Anchorage looked like a strange ghost town.
The banner over 4th Avenue in Anchorage was there to promote a play called "Our Town".
After the quake, the banner became a strange reminder that it was our town.
Over the years, we've seen a number of photographs taken of the damage and destruction on 4th Avenue in Anchorage following the 1964 earthquake, but these pictures by Starr Judkins Lane give us a different look.
After our 5 minute earthquake had ended, those strong, hard after shocks continued - and "Our Town" would never be the same.
Like many buildings in certain parts of Anchorage's 4th Avenue, the Denali Theater pictured above, ended up lower than the sidewalk in front of it.
Liquefaction, the process where normally solid ground, turns into a kind of liquid when it's put under stress, caused buildings in down town Anchorage to slide off their foundations.
Long before it's Spenard location, Anchorage's Denali Theater was located in downtown Anchorage on 4th Avenue.
A sad sight for those of us who had so many fun memories of seeing so many movies in that famed theater downtown.
Do you have pictures you took of Anchorage following the Alaska 1964 earthquake?
If you do, we would love to include them on this page. And we are happy to include your name as the photographer.
To have your pictures included on Anchorage Memories, contact us right here and we'll tell you how (it's so easy).
Both Mary and I (Mike) of Anchorage Memories are survivors of the 64' earthquake. And these Alaska 1964 earthquake pictures so vividly portray the events of that Good Friday.
And while my experience was terrifying and one that I will never forget, Mary is blessed to have survived her horrifying ordeal.
For both of us, like many of you, it's sometimes hard to look at the pictures you've just seen above, but a necessary reminder for not only those of us who survived that never-to-be-forgotten Good Friday, but for those who did not experience this profound and powerful quake.
So, with tear filled eyes, I say this - we hope and pray that no one ever has to experience a 9.2 earthquake and live with it for the rest of their lives like Mary and I and so many of you have.
Now check out, Alaska 1964 Earthquake Stories, right now.


Below is the slide show Jun Corpuz put together for Remembering Bryan: Thoughts & Memories from Friends & Family, a book released in November 2011, just before the 5th anniversary of Bryan's death. Read more about Bryan here. Music: Hypnotist Collector–Bryan (bass), brother Daniel, drummer Justin Flannigan. The song, "But It Was," doesn't quite fit, but Bryan would have approved. It's one of the band's toughest songs.
Full screen view, click the two arrows on lower right corner of video player.
View or Download Remembering Bryan booklet.
This entry was posted in Family, Music & Media Podcasts and tagged Bryan E. Guzman, Bryan House, hypnotist collector. Bookmark the permalink.


text:
[#]: collector: (lujun9972)
[#]: translator: ( )
[#]: reviewer: ( )
[#]: publisher: ( )
[#]: url: ( )
[#]: subject: (How I programmed a virtual gift exchange)
[#]: via: (https://opensource.com/article/21/1/open-source-gift-exchange)
[#]: author: (Chris Hermansen https://opensource.com/users/clhermansen)

How I programmed a virtual gift exchange
======
A book club takes its annual gift exchange online with the help of HTML,
CSS, and JavaScript.
![Package wrapped with brown paper and red bow][1]

Every year, my wife's book club has a book exchange during the holidays. Due to the need to maintain physical distance in 2020, I created an online gift exchange for them to use during a book club videoconference. Apparently, the virtual book exchange worked out (at least, I received kind compliments from the book club members), so I decided to share this simple little hack.

### How the book exchange usually works

In past years, the exchange has gone something like this:

  1. Each person buys a book and wraps it up.
  2. Everyone arrives at the host's home and puts the wrapped books in a pile.
  3. Each person draws a number out of a hat, which establishes their turn.
  4. The person who drew No. 1 selects a book from the pile and unwraps it. In turn, each subsequent person chooses to either take a wrapped book from the pile or to steal an unwrapped book from someone who has gone before.
  5. When someone's book is stolen, they can either replace it with a wrapped book from the pile or steal another book (but not the one that was stolen from them) from someone else.
  6. And so on… eventually, someone has to take the last unwrapped book to end the exchange.

### Designing the virtual book exchange

My first decision was which implementation platform to use for the book exchange. Because there would already be a browser open to host the videoconference, I decided to use HTML, CSS, and JavaScript.

Then it was design time. After some thinking, I decided to use rectangles to represent the book club members and the books. The books would be draggable, and when one was dropped on a member's rectangle, the book would unwrap (and stay unwrapped). I needed some "wrapping paper," so I used this source of [free-to-use images][2].

I took screenshots of the patterns I liked and used [GIMP][3] to scale the images to the right width and height.

I needed a way to handle draggable and droppable interactions; given that I've been using jQuery and jQuery UI for several years now, I decided to continue along that path.

For a while, I struggled with what a droppable element should do when something was dropped on it. Finally, I realized that all I needed to do was unwrap the dropped item (if it was still wrapped). I also spent some time fretting over how to lay stuff out until I realized that the easiest thing to do was just leave the elements floating.

Jumping to the results, here's a screenshot of the user interface at the beginning of the exchange:

![Virtual book exchange][4]

(Chris Hermansen, [CC BY-SA 4.0][5])

There are nine book club members: Wanda, Carlos, Bill, and so on. There are also nine fairly ugly wrapped parcels.

Let's say Wanda goes first and chooses the flower wrapping paper. The host clicks and drags that parcel to Wanda's name, and the parcel unwraps:

![Virtual book exchange][6]

(Chris Hermansen, [CC BY-SA 4.0][5])

Whoops! That title and author are a bit too long to fit on the book's "cover." Oh well, I'll fix that in the next version.

Carlos is next. He decides he really wants to read that book, so he steals it. Wanda then chooses the paisley pattern, and the screen looks like this:

![Virtual book exchange][7]

(Chris Hermansen, [CC BY-SA 4.0][5])

And so on until the exchange ends.

### The code

So what about the code? Here it is:

```
     1  <!doctype html>
     2  <[html][8] lang="en">
     3  <[head][9]>
     4    <[meta][10] charset="utf-8">
     5    <[title][11]>Book Exchange</[title][11]>
     6    <[link][12] rel="stylesheet" href="//code.jquery.com/ui/1.12.1/themes/smoothness/jquery-ui.css">
     7    <[style][13]>
     8    .draggable {
     9      float: left;
    10      width: 90px;
    11      height: 90px;
    12      background: #ccc;
    13      padding: 5px;
    14      margin: 5px 5px 5px 0;
    15    }
    16    .droppable {
    17      float: left;
    18      width: 100px;
    19      height: 125px;
    20      background: #999;
    21      color: #fff;
    22      padding: 10px;
    23      margin: 10px 10px 10px 0;
    24    }
    25    </[style][13]>
    26    <[script][14] src="[https://code.jquery.com/jquery-1.12.4.js"\>\][15]</[script][14]>
    27    <[script][14] src="[https://code.jquery.com/ui/1.12.1/jquery-ui.js"\>\][16]</[script][14]>
    28  </[head][9]>
    29  <[body][17]>
    30  <[h1][18] style="color:#1a1aff;">Raffles Book Club Remote Gift Exchange</[h1][18]>
    31  <[h2][19] style="color:#aa0a0a;">The players, in random order, and the luxurious gifts, wrapped:</[h2][19]>
    32
    33  <[div][20]>
    34  <[div][20] id="wanda" class="droppable">Wanda</[div][20]>
    35  <[div][20] id="carlos" class="droppable">Carlos</[div][20]>
    36  <[div][20] id="bill" class="droppable">Bill</[div][20]>
    37  <[div][20] id="arlette" class="droppable">Arlette</[div][20]>
    38  <[div][20] id="joanne" class="droppable">Joanne</[div][20]>
    39  <[div][20] id="aleks" class="droppable">Alekx</[div][20]>
    40  <[div][20] id="ermintrude" class="droppable">Ermintrude</[div][20]>
    41  <[div][20] id="walter" class="droppable">Walter</[div][20]>
    42  <[div][20] id="hilary" class="droppable">Hilary</[div][20]>
    43  </[div][20]>
    44  <[div][20]>
    45  <[div][20] id="bows" class="draggable" style="background-image: url('bows.png');"></[div][20]>
    46  <[div][20] id="boxes" class="draggable" style="background-image: url('boxes.png');"></[div][20]>
    47  <[div][20] id="circles" class="draggable" style="background-image: url('circles.png');"></[div][20]>
    48  <[div][20] id="gerbers" class="draggable" style="background-image: url('gerbers.png');"></[div][20]>
    49  <[div][20] id="hippie" class="draggable" style="background-image: url('hippie.png');"></[div][20]>
    50  <[div][20] id="lattice" class="draggable" style="background-image: url('lattice.png');"></[div][20]>
    51  <[div][20] id="nautical" class="draggable" style="background-image: url('nautical.png');"></[div][20]>
    52  <[div][20] id="splodges" class="draggable" style="background-image: url('splodges.png');"></[div][20]>
    53  <[div][20] id="ugly" class="draggable" style="background-image: url('ugly.png');"></[div][20]>
    54  </[div][20]>
    55
    56  <[script][14]>
    57  var books = {
    58      'bows': 'Untamed by Glennon Doyle',
    59      'boxes': "The Heart's Invisible Furies by John Boyne",
    60      'circles': 'The Great Halifax Explosion by John Bacon',
    61      'gerbers': 'Homes: A Refugee Story by Abu Bakr al Rabeeah, Winnie Yeung',
    62      'hippie': 'Before We Were Yours by Lisa Wingate',
    63      'lattice': "Hamnet and Judith by Maggie O'Farrell",
    64      'nautical': 'Shuggy Bain by Douglas Stewart',
    65      'splodges': 'Magdalena by Wade Davis',
    66      'ugly': 'Funny Boy by Shyam Selvadurai'
    67  };
    68  $( ".droppable" ).droppable({
    69    drop: function(event, ui) {
    70      var element = $(ui.draggable[0]);
    71      var wrapping = element.attr('id');
    72      /* alert( $(this).text() + " got " + wrapping); */
    73      $(ui.draggable[0]).css("background-image","url(book_cover.png)");
    74      $(ui.draggable[0]).text(books[wrapping]);
    75    },
    76    out: function() {
    77      /* alert( $(this).text() + " lost it" ); */
    78    }
    79  });
    80  $( ".draggable" ).draggable();
    81  </[script][14]>
    82
    83  </[body][17]>
    84  </[html][8]>
```

### Breaking it down

Let's go over this code bit by bit.

  * **Lines 1–6:** Upfront, I have the usual HTML boilerplate, `HTML`, `HEAD`, `META`, `TITLE` elements, followed by a link to the CSS for jQuery UI.
  * **Lines 7–25:** I added two new style classes: `draggable` and `droppable`. These define the layout for the books (draggable) and the people (droppable). Note that, aside from defining the size, background color, padding, and margin, I established that these need to float left. This way, the layout adjusts to the browser window width in a reasonably acceptable form.
  * **Line 26–27:** With the CSS out of the way, it's time for the JavaScript libraries, first jQuery, then jQuery UI.
  * **Lines 29–83:** Now that the `HEAD` element is done, next is the `BODY`:
    * **Lines 30–31:** These couple of titles, `H1` and `H2`, let people know what they're doing here.
    * **Lines 33–43:** A `DIV` to contain the people:
      * **Lines 34–42:** The people are defined as droppable `DIV` elements and given `ID` fields corresponding to their names.
    * **Lines 44–54:** A `DIV` to contain the books:
      * **Lines 45–53:** The books are defined as draggable `DIV` elements. Each element is declared with a background image corresponding to the wrapping paper with no text between the `<div>` and `</div>`. The `ID` fields correspond to the wrapping paper.
    * **Lines 56–81:** These contain JavaScript to make it all work.
      * **Lines 57–67:** This JavaScript object contains the book definitions. The keys (`'bows'`, `'boxes'`, etc.) correspond to the `ID` fields of the book `DIV` elements. The values (`'Untamed by Glennon Doyle',` `"The Heart's Invisible Furies by John Boyne"`, etc.) are the book titles and authors.
      * **Lines 68–79:** This JavaScript jQuery UI function defines the droppable functionality to be attached to HTML elements whose class is `droppable`.
      * **Lines 69–75:** When a `draggable` element is dropped onto a `droppable` element, the function `drop` is called.
        * **Line 70:** The `element` variable is assigned the draggable object that was dropped (this will be a `<div id="..." class="draggable"...></div>` element.
        * **Line 71:** The `wrapping` variable is assigned the value of the `ID` field in the draggable object.
        * **Line 72:** This line is commented out, but while I was learning and testing, calls to `alert()` were useful.
        * **Line 73:** This reassigns the draggable object's background image to a bland image on which text can be read; part 1 of unwrapping is getting rid of the wrapping paper.
        * **Line 74:** This sets the text of the draggable object to the title of the book, looked up in the book's object using the draggable object's ID; part 2 of the unwrapping is showing the book title and author.
      * **Lines 76–78:** For a while, I thought I wanted something to happen when a draggable object was removed from a droppable object (e.g., when a club member stole a book), which would require using the `out` function in a droppable object. Eventually, I decided not to do anything. But, this could note that the book was stolen and make it "unstealable" for one turn; or it could show a status line that says something like: _"Wanda's book Blah Blah by Joe Blogs was stolen, and she needs to choose another."_
      * **Line 80:** This JavaScript jQuery UI function defines the draggable functionality to be attached to HTML elements whose class is `draggable`. In my case, the default behavior was all I needed.

That's it!

### A few last thoughts

Libraries like jQuery and jQuery UI are incredibly helpful when trying to do something complicated in JavaScript. Look at the `$().draggable()` and `$().droppable()` functions, for example:

```
`$( ".draggable" ).draggable();`
```

The `".draggable"` allows associating the `draggable()` function with any HTML element whose class is "draggable." The `draggable()` function comes with all sorts of useful behavior about picking, dragging, and releasing a draggable HTML element.

If you haven't spent much time with jQuery, I really like the book [_jQuery in Action_][21] by Bear Bibeault, Yehuda Katz, and Aurelio De Rosa. Similarly, [_jQuery UI in Action_][22] by TJ VanToll is a great help with the jQuery UI (where draggable and droppable come from).

Of course, there are many other JavaScript libraries, frameworks, and what-nots around to do good stuff in the user interface. I haven't really started to explore all that jQuery and jQuery UI offer, and I want to play around with the rest to see what can be done.

--------------------------------------------------------------------------------

via: https://opensource.com/article/21/1/open-source-gift-exchange

作者:[Chris Hermansen][a]
选题:[lujun9972][b]
译者:[译者ID](https://github.com/译者ID)
校对:[校对者ID](https://github.com/校对者ID)

本文由 [LCTT](https://github.com/LCTT/TranslateProject) 原创编译,[Linux中国](https://linux.cn/) 荣誉推出

[a]: https://opensource.com/users/clhermansen
[b]: https://github.com/lujun9972
[1]: https://opensource.com/sites/default/files/styles/image-full-size/public/lead-images/brown-package-red-bow.jpg?itok=oxZYQzH- (Package wrapped with brown paper and red bow)
[2]: https://all-free-download.com/free-vector/patterns-creative-commons.html#google_vignette
[3]: https://opensource.com/tags/gimp
[4]: https://opensource.com/sites/default/files/uploads/bookexchangestart.png (Virtual book exchange)
[5]: https://creativecommons.org/licenses/by-sa/4.0/
[6]: https://opensource.com/sites/default/files/uploads/bookexchangeperson1.png (Virtual book exchange)
[7]: https://opensource.com/sites/default/files/uploads/bookexchangeperson2.png (Virtual book exchange)
[8]: http://december.com/html/4/element/html.html
[9]: http://december.com/html/4/element/head.html
[10]: http://december.com/html/4/element/meta.html
[11]: http://december.com/html/4/element/title.html
[12]: http://december.com/html/4/element/link.html
[13]: http://december.com/html/4/element/style.html
[14]: http://december.com/html/4/element/script.html
[15]: https://code.jquery.com/jquery-1.12.4.js"\>\
[16]: https://code.jquery.com/ui/1.12.1/jquery-ui.js"\>\
[17]: http://december.com/html/4/element/body.html
[18]: http://december.com/html/4/element/h1.html
[19]: http://december.com/html/4/element/h2.html
[20]: http://december.com/html/4/element/div.html
[21]: https://www.manning.com/books/jquery-in-action-third-edition
[22]: https://www.manning.com/books/jquery-ui-in-action


The name of three Khans – Aamir, Salman and Shah Rukh have become synonymous with Bollywood.
Actress Esha Gupta made headlines recently when she posted a few pictures on Instagram. The photos an aesthetically shot series with Arjun Mark were loved for showcasing her in a bikini.
Actress Ileana D'Cruz is getting popular in Bollywood. The actress is currently busy promoting her upcoming movie 'Baadshaho' which is on the verge of a release.
The upcoming movie 'Baadshaho' marks the reunion of Emraan, Devgn and director Milan Luthria, after 'Once Upon A Time in Mumbaai'.
The trailer of this year's eagerly anticipated movie 'Judwaa 2' is finally here.


text:
Fujitsu and Teijin start joint trials with V Frames and advanced bikes to enhance environmental value of recycled carbon fiber
Fujitsu Limited and Teijin Limited (hereinafter Teijin) announced the launch of a joint project running from January to March 2023 to enhance the environmental value of recycled resources in the production of bicycle frames together with V Frames GmbH (hereinafter V Frames), a German manufacturer and distributor of carbon fiber reinforced plastic bicycle frames, and E Bike Advanced Technologies GmbH (hereinafter Advanced Bikes), a German manufacturer of bicycles.
3 minutes, 0 secondes
As part the trials, Teijin and Fujitsu will leverage a blockchain-based commercial platform launched in July 2022 to promote the sustainable use of recycled materials, tracing and management of greenhouse gas (GHG) emissions within the environmentally-conscious bicycle industry.
By implementing a business model that maximizes the environmental value from recycled materials, Teijin and Fujitsu aim to contribute to the further development of the carbon fiber recycling market and the realization of a circular economy. Following the successful conclusion of the joint trials, Teijin and Fujitsu will promote the implementation of the new platform, with the aim of commercialization in fiscal 2023.
In Europe, many bicycle manufacturers use frames manufactured in Asia, and many of these frames are also ultimately disposed of in landfills in Asia. Energy consumption during long-distance transportation of resources including materials and used frames across the supply chain represents one major reason why resources are often not recycled and disposed of in a sustainable manner. In order to contribute to the reduction of GHG emissions from its business operations, V Frames utilizes local resources in Germany and recycles used frames in its bicycle production.
Within this joint project, Teijin and Fujitsu will conduct trials together with V Frames and Advanced Bikes to visualize the results of V Frames' efforts to reduce GHG emissions in its production process, with the aim to foster a shared awareness towards the environmental value of recycled materials within the environmentally-conscious bicycle industry and industries handling carbon fibers.
Outline of the joint trials
1) Purpose of the trials
Track and manage information on the environmental impact of materials used in bicycle frame production, evaluate the feasibility of the data collection process and evaluate the value of the visualized tracked data to enhance the environmental value of recycled resources in the production of bicycle frames
2) Roles and responsibilities
>Teijin: Support of environmental assessment across the different processes and engagement of stakeholders toward the creation of an ecosystem
> Fujitsu: Implementation of blockchain platform based on the Fujitsu Track and Trust digital ledger technology and development of tool for visualization and provision of tracked data
> V Frames and Advanced Bikes: Upload of environmental impact information for different operational processes within the company to the platform; review of data collection and visualization process
3) Period
January 2023 – March 2023 (planned)
4) Future vision and goals
Creation of "digital twins" to manage resources: information about resources (including their location, condition, environmental impact, etc.) used/generated in the business operations from the recycling to sales process of bicycle frames will be uploaded and provided on the platform to create digital replications (digital twins) of physical resources and manage information on their condition; using blockchain technology, the platform will also offer past data on the condition of resources;
Disclosure and utilization of data: data from the platform can be used to share information on resources (origin of resources etc.) with bicycle users or utilized by various stakeholders in their carbon management; data on the platform can further be used as proof for the successful realization of a resource cycle and utilized for future ESG investment evaluations or as credits
Following the joint trials, Teijin and Fujitsu will promote the implementation of the new platform, with the aim of commercialization in fiscal 2023. Moving forward, the two parties will further promote discussions and field trials with partner companies and organizations that support this initiative and will work to contribute to the realization of a circular economy by supporting the growth of the recycling market in various industries.
In order to realize a sustainable society, Teijin will provide innovative, people-centered solutions that improve peoples' quality of life. Teijin will further strive to mitigate the impact of its business activities on the environment and society to realize its long-term vision "to be a company that supports the society of the future."
Fujitsu is promoting "Sustainable Manufacturing" to achieve growth through the coexistence of people and the earth as one of its key focus areas under its global business brand, Fujitsu Uvance.
More information www.teijin.com


CoinTaker 44 47 SUPER 2FLEX 44 Direct Replacement, Highest Quality LEDs | CoinTaker, distributor of pinball machines ,toppers, and parts.
Voltage 6.3 AC or DC, as these are fully rectified. Current is .1 amps for power consumption of .6 watts. This is 3 times less power used than a 44 / 555 bulb.