The truth is that any questions I had about Marc Broussard were answered on a subliminal level when I saw him perform live, and spoke with him in person. This Louisiana-based, son-of-a-down-south-legend, blue-eyed soul singer/songwriter is electric and the genuine article. Whether or not his recent album has that same magic is a question, but I am a believer in Marc, and that is what matters most. When artists come and go at high-speed, and we're made to decide who stays in our hearts and who we can confide in for the long haul, Marc Broussard is a voice that may very well Keep Coming Back. The following interview takes place just after an acoustic promo performance for Marc's most recent album release. Rambling through City Hall Park to the sounds of a saxophonist who looks an awful lot like Jazz Man from The Simpsons, we're both wearing shades. Mine are Ray Ban, his appear to be Rolex — which is awesome . It's also overcast.
Mario Spinetti: How do you like New York City?
Marc Broussard: I love the city just as it is, but to come out here and play shows is a dream come true. I'd love to live here at some point, but it's obviously really expensive.
So! New record! How do you feel about it?
I'm feeling really good about this record, Mario, I gotta say. It's a record that I've had more involvement with personally than any of my previous albums.
Is it your first production?
I'm not listed as a producer, but yeah. Being able to voice my opinions and have them actually carried out was something new for me. I was present from top to bottom on this project, even for mixing, and there was no editing, which is great! No editing at all! Which is a fantastic way to make a record. You've got musicians talented enough to do it, so why beat detective* them?
That's wonderful, and very uncommon.
But you're on Atlantic Records now, and in that tradition, natural, edit-free performances are more commonplace.
It's more in line with their history. I'm really fired up about being on Atlantic. They're 100 % behind developing my career, not just developing a record; they're in the Marc Broussard business, not just the Marc Broussard record business.
That's also very rare. Again we're talking about anomalies. You've got a record with no editing, and a label that's looking out for your better interest.
Yeah, absolutely. They want to make me a career artist. They'd like to see me around for a long time, which is a great thing. It's not just throwing my music up against a wall to see if it sticks. They actually want me to develop and foster the grass roots we've laid in place… and they've got seven records guaranteed out of me, so if it works well, it's going to work well for a long time.
Yeah, [Atlantic is] the best label in the world right now. And it's because of a philosophy: having a very small, powerful roster and not trying to flood the industry with a bunch of crap.
When you were growing up was there anyone who influenced your work in a major way?
Growing up, my father [Hall of Fame guitarist Ted Broussard] introduced me to Stevie Wonder and Marvin Gaye. Personally though, it wasn't until I discovered Brian McKnight around 6th grade that I really started exploring music on my own. He's a phenomenal singer and definitely had a major influence on me. As of late, I also feel a really close connection with James Brown, just because the guy's got so much attitude and that's really what I want to be bringing to the table – something completely original.
What would you like to see happen with your career? Is there a goal?
Obviously we all want to sell out arenas and stadiums – that's the dream: to sell 20,000, or 30,000 tickets a night, but it's not necessary. Considering I'm from Louisiana, I don't need a whole lot more than what I've got right now: a nice house, a very modest home. I've got a wife with three kids, and my kids go to the best school in the area, so I don't really need a whole lot more. I don't need a Ferrari, and I don't need a big mansion. If I could have a career like James Taylor or Mose Alison – somebody that can sell 5,000 tickets for the rest of my life, I'm down with that, man. Playing places like the Beacon Theatre… I could live with that.
It sounds like you're well on your way.
I think so! We've got a lot of fans out there who have been die-hards for some time. Hopefully with the release of this record, and a record label pushing things for us, we can break that ceiling and start making some waves.
If there's one thing you'd like to be remembered for, what would it be?
I'd like to be remembered for bringing families together with my music… music that's positive enough for parents to dig on, and funky enough for kids to dance to.
*[Beat Detective; pronunciation: \'bēt\ \di-'tek-tiv\; function: verb; definition: a process by which various computer functions analyze misplayed rhythms, and adjust them to graphic perfection. Can be used as a corrective tool or as an aesthetic effect. Comparable to airbrushing in visual mediums, it's said to exist on over 95% of "pop" records post-dating the late '90s, when the tool was conceived.
I recently spoke with a group of professional engineers about Beat Detective and Autotune, which is a similar device that corrects misplayed pitches rather than rhythms, and we came to the conclusion that through years of conditioning, the expectation of most contemporary music listeners is mathematical perfection. In other words, what the contemporary listener expects to occur naturally within music is actually "Beat Detected" where rhythmic elements are concerned, and "Autotuned" where pitches are involved, such that record-makers and musicians are left with musical standards that are nearly impossible to fulfill without the aid of computers.


A Jewish section will be consecrated next month at a cemetery in the NSW country town of Kempsey…and a Holocaust survivor who lives close by will know that when she dies she will be buried according to Jewish law.
In a remarkable twist of fate the NSW Jewish Board of Deputies, working with former president David Knoll who is on the NSW Interim State Cemeteries and Crematoria Board, identified a need for a Jewish burial ground to accommodate a growing presence in the region north of Newcastle to the Queensland border. At the same time, Kempsey Council was approached by the daughter of a Holocaust survivor who lives close to the town asking if arrangements could be made to find a cemetery housing a Jewish section where her mother could be buried.
As a result of the co-operative work between David Knoll and Jenny Colling of the Kempsey Shire Council, the NSW Jewish Board of Deputies, the Sydney Beth Din and the Sydney Chevra Kaddisha (Jewish Burial Society) the Council has announced the allocation of a Jewish section at Frederickton Cemetery to serve the needs of the growing North Coast Jewish community.
The 88-yr-old Auschwitz survivor will attend the dedication.
The section will then be opened, with room for approximately 70 plots surrounded by trees and gardens.
Jenny Colling told J-Wire: "At one time, 13 cemeteries in the are had space allocated for Jewish burials but other denominations utilised whatever was available.


text:
Q: Get the Current Notebook URl I need to get the current url of zeppilin notebook to fetch the query string parameters, I am getting from the UI
I have tried all the things which I can do in python But none is worked
I am getting only the hostname  with the below code
os.environ.get("HOSTNAME")

But I want the complete URL of the Notebook
Thanks in Advance

redpajama_set_name: RedPajamaStackExchange


This offbeat trek to the Laka Glacier offers some of the most amazing views of Dhauladhar mountain range and Kangra valley.
Free Facility to freshen-up/change at Mcleodganj Base Camp.
Free Facility to keep luggage at Mcleodganj Base Camp.
Experience trekking to a Glacier.
Daily Departure: Guaranteed departure for even a single member.
Road transportation: All road transportation after the reporting point is included in the cost.
Laka Glacier Trek is about 8 km from Bhagsu Nath and in all 13 km from Mcleodganj. Right from winters to June, there is snow and ice at the glacier. March to June is the best time for this trek. Post-June, glacier begins to decrease and by July/August, not much snow will be left.
You will have to report at the Base Camp Mcleodganj earlier than 10 am.
Post which you will be trekking to Triund via Dhramkot & Naddi which will be a 9 km trek and will take you 4 to 5 hours.
You will have your lunch on the way.
You will be camping overnight and relish warm served dinner at Triund campsite.
On the second day after breakfast, the journey starts from Triund to Laga Got.
The trail goes through a glacial moraine to Laga Got which is an open meadow, a temporary shepherd encampment and it will be a 6 kilometres trek and will take you 6 hours to reach.
You will be camping overnight at Laka Got.
On the third day, you may check out from Laka Got after breakfast.
Post which you will be trekking 14 kilometres back to Base Camp Mcleodganj via Bhagsu Falls and reach Mcleodganj by afternoon (around 4 pm).
Is mobile network available at Triund and during trek?
Mobile reception is available in some stretches during the trek, but Triund does not have mobile reception. Vodafone & BSNL network does show-up sometimes but would not be of much use.
What all things do I need to carry for Triund trek?
As Triund trail is little rocky, hiking shoes are recommended, have at least shoes with a good grip and extra pair of socks. A warm jacket according to the season and must carry a raincoat or poncho in rainy season. There is no need to carry food/snacks as there are shops & cafes along the trail and also on top.
Can I bring my 3 year old kid with me on this trek?
Although Triund is an easy trek, conditions at Triund Top can be unpredictable sometimes. Bad weather if encountered may not be best for small child. Camping at night with 5 year old or younger child on Triund Top is not advisable. Day hike can be done.
It was an amazing experience . Everything was arranged very well.
The trekking experience was amazing! Our guide, Mr. Dhiraj was very supportive and his enthusiasm at taking us to various locations of the trek was unending. The food and accommodation was simple and nice! The trek route till Triund is fairly easy, and slightly challenging at some stretched towards Laka glacier but picturesque throughout! Just one suggestion, it would be nicer to have snow tents rather than having the regular tents. No amounts of sleeping bags are enough to keep out the cold.
It would have been good if we cud have camped at glacier. Otherthan that everything was good.
You will receive complete Operator information, including local telephone numbers at your destination, in your Booking Confirmation Voucher instantly.


This term Year 3/4 has been studying Hinduism and focusing on the festival of Diwali, the festival of lights. The children were fortunate to have Mrs Keskar speak with the classes about Diwali. They learned about the traditions of Diwali and even sampled some tasty Diwali treats - Besan Laddoo and Shankarpala! Afterwards, each class make lanterns to celebrate Diwali.


text:
Resources Submenu for articles
Published in: GIA Reader, Vol 21, No 1 (Spring 2010)
Marc Vogl
GIA Reader (2000-present)
Changing the Game: Next-Generation Strategies for the Arts
My goal for putting together a session at the 2009 GIA Conference entitled: "Changing the Game: New Models, New Leaders, New Ideas for the Arts," was to cast new light on old problems by enriching our collective conversation with new voices. I described it in the conference guide this way:
In moments of economic upheaval, technological transformation, and demographic shifts mastering the rules of the game does not guarantee victory—in politics or in the arts. Campaign organizers, next-generation arts leaders, and innovative artists share lessons for the arts sector on new ways of creating work, doing business, and harnessing the latent power of a broad community to make great art possible.
My thinking in recruiting four panelists, who had never attended a GIA conference before, was something like this:
Adam Huttler, the founder director of Fractured Atlas, the nation's largest fiscal sponsor for individual artists and arts organizations, could talk about why funders should consider making grants to organizations that lie outside of the conventional 501(c)(3) framework.
Heather Cohn, a founder of the Flux Theatre Ensemble, fiscally sponsored by Fractured Atlas, could talk about how this approach works for her and the art she wants to make.
Ebony McKinney recently left a position as a grantmaker at the San Francisco Art Commission to start a network for emerging arts leaders in the Bay Area. I thought she might talk about what changes younger arts professionals are hungry for and need to be made in order for the field's future success.
And Nicole Derse, currently director of training for Organizing for America, but previously a community organizer and campaign manager , could describe her experience as one of the first fifty staffers on Obama's presidential campaign.
What I really hoped for, of course, was that instead of presenting four mini-monologues, the panelists would converse with one another and with whomever showed up. To my delight, this actually happened.
As an entrepreneur and ardent supporter of artists who seek to subordinate organizational structure to organizational mission and artistic focus, Adam Huttler challenged every funder in the room to reflect on whether their approach to grantmaking rewards or punishes risk-taking. If grants are awarded to those who score well on an established scorecard, what incentive is there for trying something really new? If arts funders champion innovation and originality in the work they endeavor to support (and are experienced enough to understand that every new play commission won't result in a Tony), shouldn't they be more adventurous with the capital they provide to artists who work outside conventional nonprofit structures, make decisions using nontraditional leadership models, and create work on time lines that don't fit neatly into established funding cycles?
Fractured Atlas receives support from a number of arts funders (including some represented in the room), so Adam was gracious about the way he framed the issue, but fundamentally he asked the nation's arts funders to consider whether in making grants they acted more like a pension fund or a venture capitalist. Do we make grants to organizations whose work and tried-and-true programming can be expected to yield modest but predictable returns? Or do we get behind start-ups that might crash and burn but may also achieve dazzling outcomes if they receive meaningful support when they need it most? The vigorous head nodding around the room suggested that the Pension Fund vs Angel Investor analogy resonated, and I wondered which grantmakers, program officers, and board members would have funded a pre-IPO Google?
Heather Cohn, whose theatrical ensemble operates on a budget well under $500,000, attested to the cost savings of operating as a fiscally sponsored project and paying Fractured Atlas to conduct the administrative and tax-compliance activities necessary to remain eligible for the donations, grants, and benefits that charitable status affords.
When the floor was opened for questions, an unconvinced audience member wanted to know why the panelists believed new models would be any more "sustainable" than those dominating the nonprofit arts and culture landscape today.
"What is important to sustain," said Ebony McKinney, "is the individual, not the institution." The issue for emerging leaders is that the current nonprofit model privileges the organization's durability (not its vitality) above all else. Too often the creative needs and the work/life balance of staff and artists who work for arts nonprofits gets steamrollered. As documented in a recent Hewlett commissioned report on Next Generation Leadership in the Arts, Boomers, Gen Xers and Millenials working in the arts regard this issue very differently. People born after 1970 want to see a paradigm in which uncompensated overtime, unacknowledged contributions, unsupported professional development, and deep misalignment between personal sustenance and organizational sustainability are not only questioned, but upended.
Perhaps because many of those in the room had volunteered or contributed to political campaigns in 2008, people were eager to hear from Nicole Derse about how the Obama campaign engineered such an unlikely success and which tactics that worked in battleground states might apply to arts organizations across the country.
First, Nicole said: "Act boldly! Hesitate at your peril!"
The Obama team shrewdly experimented with different organizing models. Rather than a monolithic get-out-the-vote strategy, the approach varied in different electoral districts, and at different stages in the race: when organizers saw that something was working, they deployed resources and committed to them in a major way. Feedback loops from the front lines through the local, state, regional, and national campaign staffs were critical in improving systems for training volunteers and engaging voters in the electoral process. Even when that feedback was negative and even after setbacks (and devastating primary losses), a conviction about their ultimate success quelled second-guessing and half-stepping in crucial moments.
The translation for those of us in the arts (for whom sometimes commissioning studies comes more easily than expending resources to solve problems innovatively) is that the fulcrum we use to balance thinking and acting may be in the wrong place. Nicole made clear that the Obama campaign's approach was strategic, considered, and grounded in lessons learned from past victories and defeats. But they understood that with tremendous time pressure, and a leader who made the phrase "the fierce urgency of now" a part of his stump speech, over-thinking and not acting would be a losing proposition.
Everyone was familiar with the way the Obama campaign used the web and text messaging as well as a variety of new media tools to raise unprecedented amounts of money and engage volunteers and voters in new ways in 2008. Nicole helped us to understand that the campaign not only used new technology to do traditional campaign work faster, but that one could break from tradition too.
For example, she described the change in gathering data about potential voters. Phone-bankers at home on their computers logged information about voter-contacts in real time, and door-knockers entered information into an online database that field organizers and campaign managers could instantly access. That meant the campaign staff didn't need to call volunteers and ask them about numbers—how many undecideds they had won over that day. Instead, they could talk about the most inspiring (or depressing!) encounter a volunteer had, or discuss with a phone bank captain what resources they needed or what new tactics they could try.
Simply put: they treated people as people because they had machines doing the machine-work.
In his personal approach to the campaign Obama established that the ability to tell a story well, and to eloquently share one's life experiences, were important skills. With the benefit of new technology armies of volunteers were encouraged and taught how to tell their own stories when they went door to door and to articulate why this election mattered so much to them personally.
Thinking narrowly, there are obvious parallels between the fundraising imperatives of a winning political campaign and a successful arts organization. Arts organizations can certainly take a page from Obama's success by facilitating on-line donations, by valuing small contributions, and by engaging each donor not just as a piggy bank but as an ally in making a difference. More broadly, however, the campaign's approach, as Nicole discussed it, illuminates a trend that observers of arts patrons are increasingly picking up on: people want to participate. Thinking creatively about what participation could mean — making a donation, picking up a phone, meeting up with neighbors, organizing rallies, assuming leadership roles and being empowered to make important decisions — served the Obama campaign well. There may be important corollaries for arts organizations, and funders, who recognize that their mission and their chances of success hinge on giving people a reason not only to get involved but to be stimulated, appreciated, and rewarded for doing so.
Whether there was more than just caffeine in the coffee served by the Marriot, or the early- morning conversation was really just that exciting, the audience didn't need any prodding to jump into the action for the back half of our session.
"What's your generation's metaphor?" a funder in the front row (clearly a generation more senior than the twenty- and thirty-somethings on the panel), wanted to know.
"Open source," responded Adam, with approving glances from his peers.
The term has a specific meaning in terms of how software is created collectively, shared widely, and improved and adapted infinitely, but it worked for the panelists on many levels. Heather said that her ensemble's philosophy is that, as Ian Moss quotes it in his blog report (available at gia2009.wordpress.com), "great ideas should be put out into the world — they are not yours to own." For Ebony, the emphasis emerging arts professionals place on networking (both in person and online) derives from a faith in building a "commonwealth of knowledge." Nicole affirmed that transparency and inclusion are essential pillars of any organizing effort that seeks to involve young people. Whether it's simply that those who came of age with the internet don't believe that success is a function of secrecy, or that there is a deeper, more complicated generational rejection of late twentieth-century me-first capitalism and early twenty-first century administrations that lie to make war, was not addressed in our session. However, the comments from audience members across the generational spectrum made clear that greater openness has made arts philanthropy effective in the past and that the open source approach to solving massive social problems, supporting innovative artists and organizations, forging bonds with members of the arts and the non-arts communities, and not least of all, working with fellow funders, may well be the path to future success in our field, too.
Throughout the 2009 GIA conference there was a constant refrain: the status quo is not going to cut it. Chief Oren's opening invocation warned about the perils of complacency in the face of catastrophic climate change; Wynton Marsalis's history lesson challenged the crippling immorality of venerating only the artistic contributions of cultures and people that we know; and numerous sessions echoed some variation on the phrase, "It's not business as usual." Finally, Janet Brown declared GIA's new motto: "Louder and bolder!"
So, what ideas can we be loud about? How are we going to act boldly? What unusual business will succeed? Who don't we know that we need to know and support? What changes can we make in our offices, in our grantmaking practice, and in our areas of influence? The panelists who participated in this session didn't answer these questions for us, but their wisdom, spirit, and honesty helps us on our way.
Marc Vogl is a program officer with the Performing Arts Program at the William and Flora Hewlett Foundation.

redpajama_set_name: RedPajamaCommonCrawl


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redpajama_set_name: RedPajamaGithub


Croquet originated in the 1860's and has been played in Brisbane for almost 100 years. While other sports have waxed and waned, croquet continues to delight its adherents. It's a game for men and women of all ages and provides the perfect opportunity to socialise and make new friends.
In this five week course you will learn golf croquet, a very popular form of croquet and the easiest to learn. No previous experience is necessary and tuition will be provided by experienced players from the Graceville Croquet Club. All equipment will be supplied including mallets in a range of weights and sizes to suit every individual.
The fundamentals of golf croquet are easy to learn, so you can start enjoying the game right from day one. Nevertheless croquet will continue to provide new challenges and rewards as you progress. Croquet provides beneficial exercise without straining any part of the body and, being a tactical game, it also provides exercise for the mind.
Flat soled shoes are essential; hats and sunscreen are recommended.
Call Laurie on 0413400861 for further information.


We are particularly interested in session proposals and presentations that break from traditional paper-reading formats and encourage panels that propose innovative ways to develop collaborative conversation.
Hint for proposals to our unit: When discussing media, actually use media. Make your use of media clear in your proposal, please. We discourage read papers not accompanied by some sort of audio/visual assistance in communicating scholarly material to the audience.
For questions regarding the AAR's Religion, Media and Culture group and this CFP, Andrew Aghapour andrewaghapour@gmail.com and Sarah Taylor-McFarland sarah@northwestern.edu.
RMC's Call for Papers is available as a PDF.
This entry was posted in Call for papers and tagged AAR, and Culture, Andrew Aghapour, media, Religion, Sarah Taylor-McFarland. Bookmark the permalink.


text:
Correlation analysis of ADAMTS-4, VCAM-1, and TAK1 expression in cartilage tissue from spine tuberculosis
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Z.S. Sha
X.M. Che
M.Y. Wang
Accepted: November 30, -0001
Genet.Mol.Res. 16(3): gmr16038961
DOI: 10.4238/gmr16038961
A disintegrin and metalloproteinase with thrombospondin motifs 4 (ADAMTS-4) can effectively degrade articular cartilage matrix proteoglycan and damage the intervertebral disc of spinal tuberculosis patients, resulting in deterioration of the physical properties of articular cartilage. Transforming growth factor β activated kinase 1 (TAK1) is similar to vascular cell adhesion molecule 1 (VCAM-1) and closely related to a variety of pathophysiological processes. This study intended to explore the expression of ADAMTS-4, VCAM-1, and TAK1 in cartilage tissue obtained from spinal tuberculosis patients and their inter-relationships, aiming to provide new treatment approaches for spinal tuberculosis. Patients with spinal tuberculosis (N = 60) from the department of orthopedics and patients with traumatic spinal fracture (N = 60, controls) were recruited for the study. ADAMTS-4, VCAM-1, and TAK1 expression was detected by immunohistochemistry. SPSS 19.0 software was used for data processing and analysis. The score values of ADAMTS-4, TAK1, and VCAM-1 were 1.45 ± 0.10, 1.33 ± 0.09, and 1.54 ± 0.11, respectively, which were significantly higher than those in normal controls (P < 0.05). ADAMTS-4 showed positive correlation with VCAM-1 and TAK1. ADAMTS-4, TAK1, and VCAM-1 expressions increased in spinal tuberculosis patients. They could provide clinical reference for spinal tuberculosis diagnosis and new treatment strategies can be devised by focusing on their positive correlation.
Spinal tuberculosis accounts for most of the cases of bone and joint tuberculosis. Vertebral tuberculosis shows the highest rate of prevalence, whereas adnexa tuberculosis shows the least. The lumbar spine presents the highest mobility in humans and is also the site of the highest incidence of tuberculosis, followed by the thoracic vertebra, cervical vertebra, sacral vertebra, and coccygeal vertebra (Garg and Somvanshi, 2011; Shi et al., 2012). The clinical features of the disease are often complicated with spinal convex deformities and lower limb paraplegia (Rasouli et al., 2012; Zeng et al., 2015). Therefore, clarifying the mechanism of spinal tuberculosis progression is especially significant for the optimization of clinical treatment strategies.
A disintegrin and metalloproteinase with thrombospondin motifs 4 (ADAMTS-4) can effectively degrade cartilage matrix proteoglycan in articular cartilage and damage intervertebral discs in spinal tuberculosis patients, resulting in the deterioration of physical properties of articular cartilage (Wainwright et al., 2013; Yamamoto et al., 2014). Transforming growth factor β activated kinase 1 (TAK1) is similar to vascular cell adhesion molecule-1 (VCAM-1) and closely related to various pathophysiological processes. Previous studies have shown that ADAMTS-4, VCAM-1, and TAK1 play vital roles in disease development (Yang et al., 2011; Marchese et al., 2012; Pawlak et al., 2012; Cheng et al., 2015). The present study recruited 60 patients with spinal tuberculosis from the department of orthopedics of Qinghai Provincial People's Hospital from January 2015 to January 2016 to explore ADAMTS-4, VCAM-1, and TAK1 expression in cartilage tissue and their inter-relationship. Patients with traumatic spinal fracture (N = 60) were recruited as controls.
Experimental group
A total of 60 patients with spinal tuberculosis were recruited between January 2015 and January 2016 from the Qinghai Provincial People's Hospital, Xining City Qinghai Province. The inclusion criteria were as follows: 1) patients with spinal tuberculosis receiving surgical treatment, 2) signed informed consent, 3) and who underwent normal preoperative indicator measurements. Patients suffering from spinal tuberculosis in combination with mental illnesses and without the capacity to interact in a socially acceptable manner were excluded.
A total of 60 patients with traumatic spinal fracture were recruited, betwezen January 2015 and January 2016, from the Qinghai Provincial People's Hospital. The inclusion criteria were as follows: 1) Patients with traumatic spinal fracture receiving surgical treatment, 2) signed informed consent, 3) and who underwent normal preoperative indicator measurements. Patients with traumatic spinal fracture in combination with mental illnesses and without the capacity to interact in a socially acceptable manner were excluded.
No statistical differences were observed based on sex, age, and weight between the two groups (P > 0.05) (Table 1).
No. of cases
Mean age (years)
Mean weight (kg/m2)
Control 60 38/22 40.27 ± 15.19 54.67 ± 3.48
Experimental group 60 40/20 40.36 ± 14.54 53.58 ± 3.73
t/2value 0.147 0.033 1.655
P value >0.05 >0.05 >0.05
Table 1. Comparison of general information (means ± SD).
Cartilage tissue samples were surgically obtained and confirmed by pathological examination by two pathologists, independently, for inclusion in the study. The tissue samples were stored at -80°C.
Immunohistochemistry and immunofluorescence
Tissue slices were baked at 60°C for 3 h and soaked in xylene, followed by hydration in alcohol. Next, they were treated with 0.25% trypsin at 37°C for 30 min for antigen repair. The slices were further washed with 0.01 M phosphate-buffered saline (PBS) and treated with 3% hydrogen peroxide solution at room temperature (25ºC) for 10 min. After a PBS wash, the slices were treated with 50 μL primary antibody (TAK1 (Abcam, Cambridge, MA, USA) 1:300, ADAMTS-4 (Abcam) 1:200, VCAM-1 (Santa Cruz Biotechnology, Dallas, Texas, USA) 1:500) and kept at 4°C overnight. They were labeled with biotin and developed by the 3,3-diaminobenzidine substrate. After hematoxylin and eosin staining, the slices were observed under the microscope (CX31-LV320, Olympus, Shinjuku, Tokyo, Japan).
Meanwhile, some slices were used for co-staining to determine the expression of ADAMTS-4, TAK1, and VCAM-1 and analyzed by fluorescent microscopy using fluorescentlabeled secondary antibodies.
Data was analyzed by SPSS 19.0 software. Measured data are reported as means ± SD and were compared by the t-test. Enumeration data was compared by the chi-square test. Correlation analysis was performed using the Pearson correlation method. P < 0.05 was statistically significant.
ADAMTS-4, TAK1, and VCAM-1 expression in cartilage tissue
Qualitative positive cell scoring method was applied for evaluation: 1) 0 points represents the number of positive cells = 0%; 2) 1 point refers to the number of positive cells between 0 ~ 25%; 3) 2 points refers to the number of positive cells between 25 ~ 50%; 4) 3 points refers to the number of positive cells between 50 ~ 75%; (5) and 4 points refers to number of positive cells above 75%. Immunohistochemistry results showed that the scores of ADAMTS-4, TAK1, and VCAM-1 in spinal tuberculosis patients were significantly higher than those for the control (P < 0.05) (Table 2 and Figure 1). In addition, co-staining analysis by fluorescent microscopy demonstrated the expression of ADAMTS-4, TAK1, and VCAM-1 in the same cells (Figure 2).
ADAMTS-4
Experimental group 60 1.45 ± 0.10 1.33 ± 0.09 1.54 ± 0.11
Control 60 1.09 ± 0.07 1.03 ± 0.10 1.02 ± 0.09
t 22.845 17.273 28.340
P <0.05 <0.05 <0.05
Table 2. ADAMTS-4, TAK1, and VCAM-1 expression in cartilage tissue.
Figure 1: Expression of ADAMTS-4, TAK1, and VACAM-1 in cartilage tissue. The cartilage tissue was surgically obtained followed by immunohistochemical staining for the analysis of the expression of ADAMTS-4 (A-B), TAK1 (C-D), and VCAM-1 (E-F).
Figure 2: Co-staining for ADAMTS-4, TAK1, and VCAM-1 expression in cartilage tissue. The cartilage tissue slice was baked, oaked in xylene, and hydrated in alcohol for co-staining to determine the expression of ADAMTS-4, TAK1, and VCAM-1, which was analyzed by fluorescent microscopy using fluorescent-labeled secondary antibodies.
Correlation analysis among ADAMTS-4, TAK1, and VCAM-1 expression
Pearson correlation analysis revealed that ADAMTS-4 was positively correlated with VCAM-1 and TAK1 (r > 0, P < 0.05) (Table 3).
ADAMTS-4 Pearson correlation 1 0.758 0.958
Significance (two-tail) 0.034 0.000
N 60 60 60
VCAM-1 Pearson correlation 0.0758 1 0.691
TAK1 Pearson correlation 0.958 0.691 1
Table 3. Correlation analysis of ADAMTS-4, TAK1, and VCAM-1 expression
The main clinical manifestations of spinal tuberculosis include spinal pain, kyphosis, abdominal mass, and spinal nerve compression (Merino et al., 2012; Wang et al., 2012). Currently, there is still a lack of consensus on a single standard mechanism for its pathogenesis. Various factors can induce spinal tuberculosis, such as hereditary predisposition, immune response, inflammatory mediators, and imbalance of the cartilage matrix microenvironment (Li et al., 2012; Rajasekaran, 2012). Spinal tuberculosis progresses through multiple stages and involves a variety of cytokines. ADAMTS-4, VCAM-1, and TAK1 play key roles in disease occurrence and development (Jain and Jain, 2012; Tuli, 2013), and their association is an interesting subject for research. Thus, the search for new targets for spinal tuberculosis treatment is exceedingly important.
In-depth quantitative study of the ADAMTS enzyme revealed that the enzyme stored metal ions during the process of purification. The quantitative metal ions were found to be difficult to remove from the enzyme by general methods (Shiomi et al., 2010; Obika et al., 2014). However, chelating agent such as ethylenediaminetetraacetic acid may inactivate the enzyme in the purification process (Matsukawa et al., 2013; Tian et al., 2013). Numerous ADAMTS enzymes have been found to be closely related to spinal tuberculosis, including ADAMTS-1, ADAMTS-4, ADAMTS-5, ADAMTS-8, ADAMTS-9, and ADAMTS-15. Particularly, ADAMTS-4 was considered to have the ability to cause proteoglycan degradation with markedly higher expression levels, compared to those by other enzymes of the same type, in spinal tuberculosis patients (Ren et al., 2013; Roberts et al., 2015).
VCAM is a common type of vascular cell adhesion molecule. The VCAM-1 content in human adipose tissues and microvascular endothelial cells was slightly higher than that in the other parts of the body. However, VCAM-1 expression in cartilage cells needs to be induced by hyaluronic acid and inflammatory cytokines such as IL-1 and TNF-α (Cook-Mills et al., 2011; Tozawa et al., 2011). VCAM-1 content in spinal tuberculosis patients was significantly higher than that in normal controls, and gradually increased with disease progression, indicating the close relationship between VCAM-1 and spinal tuberculosis (Chi et al., 2014). Similar to the VCAM-1 induction process, TAK1 also needs to be activated by the inflammatory cytokines IL-1 and TNF-α (Jung et al., 2012). AP-1 and NF-κB were observed to affect the pathogenic process of spinal tuberculosis (Zheng et al., 2013). However, whether the aberrant expression of VCAM-1 and TAK1 was due to increased secretion of inflammatory cytokines IL-1 or TNF-α in patients with spinal tuberculosis has not been investigated and is the main limitation of the present study.
TAK1 has serine/threonine protein kinase activity (Lin et al., 2015). Many kinds of histopathological processes are closely related to TAK1. TAK1 is located at the branch point of the MAPK and NF-κB signaling pathways. It can only be activated by IL-1 and TNF-α stimulation (Lim et al., 2012). AP-1 and NF-κB have significant functions in the occurrence of spinal tuberculosis. After activation, TAK1 could bind to TAB1, triggering the phosphorylation of NF-κB by NIK and IKK and the IκB -mediated entrance of NF-κB into the nucleus. TAK1 achieves the purpose of participating in the pathogenesis of spinal tuberculosis (Tai et al., 2014).
The present study included the correlation analysis of ADAMTS-4, VCAM-1, and TAK1 expression. Results revealed that ADAMTS-4, VCAM-1, and TAK1 were positively correlated with each other. Both VCAM-1 and TAK1 need to be activated by inflammatory cytokines, and a reduction in their levels may alleviate the impact of inflammatory cytokines on spinal tuberculosis.
ADAMTS-4, VCAM-1, and TAK1 levels are elevated in spinal tuberculosis and positively correlated with each other. Therefore, these proteins could be considered as new targets for the treatment of spinal tuberculosis. This study could also provide a theoretical basis for the optimization of treatment strategies.
We thank the anonymous reviewers for reviewing this manuscript.
Department of Orthopedics, Qinghai Provincial People's Hospital, Xining Cit, China
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Jung J, Ko SH, Yoo do Y, Lee JY, et al. (2012). 5,7-Dihydroxy-3,4,6-trimethoxyflavone inhibits intercellular adhesion molecule 1 and vascular cell adhesion molecule 1 via the Akt and nuclear factor-kappaB-dependent pathway, leading to suppression of adhesion of monocytes and eosinophils to bronchial epithelial cells. Immunology 137: 98-113.
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Lim ST, Miller NL, Chen XL, Tancioni I, et al. (2012). Nuclear-localized focal adhesion kinase regulates inflammatory VCAM-1 expression. J. Cell Biol. 197: 907-919. http://dx.doi.org/10.1083/jcb.201109067
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Marchese ME, Berdnikovs S and Cook-Mills JM (2012). Distinct sites within the vascular cell adhesion molecule-1 (VCAM-1) cytoplasmic domain regulate VCAM-1 activation of calcium fluxes versus Rac1 during leukocyte transendothelial migration. Biochemistry 51: 8235-8246. http://dx.doi.org/10.1021/bi300925r
Matsukawa T, Sakai T, Yonezawa T, Hiraiwa H, et al. (2013). MicroRNA-125b regulates the expression of aggrecanase-1 (ADAMTS-4) in human osteoarthritic chondrocytes. Arthritis Res. Ther. 15: R28. http://dx.doi.org/10.1186/ar4164
Merino P, Candel FJ, Gestoso I, Baos E, et al. (2012). Microbiological diagnosis of spinal tuberculosis. Int. Orthop. 36:233-238. http://dx.doi.org/10.1007/s00264-011-1461-x
Obika M, Vernon RB, Gooden MD, Braun KR, et al. (2014). ADAMTS-4 and biglycan are expressed at high levels and co-localize to podosomes during endothelial cell tubulogenesis in vitro. J. Histochem. Cytochem. 62: 34-49. http:// dx.doi.org/10.1369/0022155413507727
Pawlak E, Wang L, Johnson PJ, Nuovo G, et al. (2012). Distribution and processing of a disintegrin and metalloproteinase with thrombospondin motifs-4, aggrecan, versican, and hyaluronan in equine digital laminae. Am. J. Vet. Res. 73: 1035-1046. http://dx.doi.org/10.2460/ajvr.73.7.1035
Rajasekaran S (2012). Kyphotic deformity in spinal tuberculosis and its management. Int. Orthop. 36: 359-365. http:// dx.doi.org/10.1007/s00264-011-1469-2
Rasouli MR, Mirkoohi M, Vaccaro AR, Yarandi KK, et al. (2012). Spinal tuberculosis: diagnosis and management. Asian Spine J. 6: 294-308.http://dx.doi.org/10.4184/asj.2012.6.4.294
Ren P, Zhang L, Xu G, Palmero LC, et al. (2013). ADAMTS-1 and ADAMTS-4 levels are elevated in thoracic aortic aneurysms and dissections. Ann. Thorac. Surg. 95: 570-577. http://dx.doi.org/10.1016/j.athoracsur.2012.10.084
Roberts S, Evans H, Wright K, van Niekerk L, et al. (2015). ADAMTS-4 activity in synovial fluid as a biomarker of inflammation and effusion. Osteoarthritis Cartilage 23: 1622-1626. http://dx.doi.org/10.1016/j.joca.2015.05.006
Shi JD, Wang ZL, Geng GQ and Niu NK (2012). Intervertebral focal surgery for the treatment of non-contiguous multifocal spinal tuberculosis. Int. Orthop. 36: 1423-1427. http://dx.doi.org/10.1007/s00264-011-1478-1
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Tai HC, Chang AC, Yu HJ, Huang CY, et al. (2014). Osteoblast-derived WISP-1 increases VCAM-1 expression and enhances prostate cancer metastasis by down-regulating miR-126. Oncotarget 5: 7589-7598. http://dx.doi. org/10.18632/oncotarget.2280
Tian Y, Yuan W, Fujita N, Wang J, et al. (2013). Inflammatory cytokines associated with degenerative disc disease control aggrecanase-1 (ADAMTS-4) expression in nucleus pulposus cells through MAPK and NF-κB. Am. J. Pathol. 182: 2310-2321. http://dx.doi.org/10.1016/j.ajpath.2013.02.037
Tozawa H, Kanki Y, Suehiro J, Tsutsumi S, et al. (2011). Genome-wide approaches reveal functional interleukin-4-inducible STAT6 binding to the vascular cell adhesion molecule 1 promoter. Mol. Cell. Biol. 31: 2196-2209. http:// dx.doi.org/10.1128/MCB.01430-10
Tuli SM (2013). Historical aspects of Pott's disease (spinal tuberculosis) management. Eur. Spine J. 22 (Suppl 4): 529-http://dx.doi.org/10.1007/s00586-012-2388-7
Wainwright SD, Bondeson J, Caterson B and Hughes CE (2013). ADAMTS-4_v1 is a splice variant of ADAMTS-4 that is expressed as a protein in human synovium and cleaves aggrecan at the interglobular domain. Arthritis Rheum. 65: 2866-2875. http://dx.doi.org/10.1002/art.38102
Wang H, Li C, Wang J, Zhang Z, et al. (2012). Characteristics of patients with spinal tuberculosis: seven-year experience of a teaching hospital in Southwest China. Int. Orthop. 36: 1429-1434. http://dx.doi.org/10.1007/s00264-012-1511-z
Yamamoto K, Owen K, Parker AE, Scilabra SD, et al. (2014). Low density lipoprotein receptor-related protein 1 (LRP1)-mediated endocytic clearance of a disintegrin and metalloproteinase with thrombospondin motifs-4 (ADAMTS-4): functional differences of non-catalytic domains of ADAMTS-4 and ADAMTS-5 in LRP1 binding. J. Biol. Chem.6462-6474. http://dx.doi.org/10.1074/jbc.M113.545376
Yang Y, Xia F, Hermance N, Mabb A, et al. (2011). A cytosolic ATM/NEMO/RIP1 complex recruits TAK1 to mediate the NF-kappaB and p38 mitogen-activated protein kinase (MAPK)/MAPK-activated protein 2 responses to DNA damage. Mol. Cell. Biol. 31: 2774-2786. http://dx.doi.org/10.1128/MCB.01139-10
Zeng H, Zhang Y, Shen X, Luo C, et al. (2015). Staged treatment of thoracic and lumbar spinal tuberculosis with flow injection abscess. Int. J. Clin. Exp. Med. 8: 18383-18390.
Zheng Y, Yang W, Aldape K, He J, et al. (2013). Epidermal growth factor (EGF)-enhanced vascular cell adhesion molecule-1 (VCAM-1) expression promotes macrophage and glioblastoma cell interaction and tumor cell invasion. J. Biol. Chem. 288: 31488-31495.http://dx.doi.org/10.1074/jbc.M113.499020
Spinal tuberculosis; ADAMTS-4; VCAM-1; TAK1;Correlation analysis; Cartilage tissue |
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text:
Q: Mixed fonts in math mode I have been happily using latex with default fonts for Math mode and now our school has specified that all our test HAVE TO BE IN ARIAL. This is fine for the text part but when it comes to math mode, I need everything to be in arial EXCEPT the lower case letters, such as x, y z, etc. As below:

The following code obviously does not do what I want as the math output is all in cambria.
\documentclass[a4paper,addpoints,12pt]{exam}
\RequirePackage{amssymb,amsfonts,amsmath,latexsym, mathrsfs,unicode-math}
\setmathfont{Cambria Math}
\renewcommand{\rmdefault}{phv}
\renewcommand{\sfdefault}{phv}

\begin{document}
    $ 4x+y=ABC-2 $
\end{document}

A: This is taken from my question Setting up a Sans Serif Document Including Math (in 2017, using pdftex).
sansmathfonts and helvet Package
\documentclass[preview]{standalone}

\usepackage{sansmathfonts}
\usepackage[scaled=0.95]{helvet}
\renewcommand{\rmdefault}{\sfdefault}

\usepackage{mathtools}
\begin{document}
Text
$\displaystyle
abc+\sum_{k=1}^{n}\int_{0}^{k}\sqrt{2}f(x)\,\text{d}x
$
Text
\end{document}

If you want upright letters then use \text{ABC} (provided by amsmath package which is loaded by mathtools package). You can see the result in the d of dx in my example.

A: These sound like requirements set by a Word user. Now (as noted by @Michael Fraiman) I don't think there is a version of Arial with a complete set of maths glyphs. However, I think Word uses Cambria for mathematics. So, you should get away with this (compile with lualatex or xelatex).
\documentclass{article}
\usepackage{fontspec}
\usepackage{unicode-math}
\usepackage{amsmath}
\setmainfont{Arial}
\setmathfont{Cambria Math}
\begin{document}
The quick brown fox jumps over the lazy dog.
\[
4x+y=ABC-2
\]
\[
4x+y=\text{ABC}-2
\]
\end{document}


text:
Q: JCE Unlimited Strength installed but AES 256 is not supported I have installed JCE Unlimited strength to JAVA_HOME\lib\security
However, I'm still getting 128 for Cipher.getMaxAllowedKeyLength("AES").
I'm wondering if I have installed the JCE at the wrong place.
I have Java installed in 2 places.

*

*C:\Program Files\Java\jre7

*C:\Development\Java\jdk1.6.0_21

Can anyone tell me where is the correct place to install JCE Unlimited strength?
Your help is much appreciated.
my code:
 KeyGenerator generator = KeyGenerator.getInstance("AES");
 generator.init(256);       SecretKey secretKey = generator.generateKey();
 byte[] raw= secretKey.getEncoded();
 SecretKeySpec sskey= new SecretKeySpec(raw, "AES");

        Cipher cipher = Cipher.getInstance("AES/CBC/PKCS5Padding");
        if (mode == Cipher.ENCRYPT_MODE) {
           Cipher.getMaxAllowedKeyLength("AES"));
           cipher.init(Cipher.ENCRYPT_MODE, sskey);
           CipherInputStream cis = new CipherInputStream(is, cipher);
           doCopy(cis, os);
        } else if (mode == Cipher.DECRYPT_MODE) {
           cipher.init(Cipher.DECRYPT_MODE, sskey);
           CipherOutputStream cos = new CipherOutputStream(os, cipher);
           doCopy(is, cos);
        }

A: You need to install the files into whichever JVM is going to run your code. To be on the safe side, I'd advocate installing it in both.
I notice you have two different versions: Java 7 for a JRE and Java 6 for an SDK. Bear in mind that Java 6 and 7 have different unlimited strength policy files, so you'll need to download both sets.

*

*For the JRE, install into C:\Program Files\Java\jre7\lib\security.

*For the JDK, install into C:\Development\Java\jdk1.6.0_21\jre\lib\security.


Energy exchange-traded funds are beating the Standard & Poor's 500 on expectations the oil and gas industry is set for better returns than the broader market as a global economic expansion stokes fuel demand.
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The funds are gaining popularity as a way to invest in industries such as oil and gas at lower transaction costs. Energy industry funds have attracted $3.1 billion of new money this year, 10 times more than last quarter, making them the best performers in the $304 billion ETF market after health care.
State Street's US$9.6-billion Energy Select Sector SPDR Fund has attracted US$1.3-billion in new money this year, the most of any of the firm's sector ETFs. Over the past week, its SPDR S&P Oil & Gas Exploration & Production ETF added $61.98 million, a top-10 performance.
Global gross domestic product will rise 2.8 percent this year, beating last year's 2.1 percent rate, according to economists' estimates compiled by Bloomberg.
Expectations that interest rates in industrial countries will remain historically low has also drawn money into utility ETFs, as well as a subgroup of energy funds that own master limited partnerships, or MLPs, which make tax-advantaged payouts to investors, Mazza said.
The Alerian MLP ETF, which holds the likes of Enterprise Products Partners LP and Kinder Morgan Energy Partners LP, attracted $184.68 million over the past week, most of it on a day of record investment on April 14, when $173.96 million came in.
Higher oil prices have buoyed optimism, Mazza said. Brent crude oil, the global benchmark, rose 1.8 percent this month to $109.7 a barrel today. West Texas Intermediate, the U.S. benchmark, traded at $103.74, up 5.4 percent this year. Both are close to six-week highs.
A key indicator for ETFs is net new money from investors — or fund purchases minus redemptions. ETFs focusing on oil and gas companies have captured 34 percent of the $8.9 billion in net inflows into sector ETFs this year, according to data compiled by Bloomberg.
They hauled in about $482 million in the past week even as investors withdrew $466.3 million from the ETF market.
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Home Sports Jayce is considering starting the season in Florida
Jayce is considering starting the season in Florida
Seth Sale Jan 22, 2021 0 Comments
In 2020, the Toronto Blue Zeus played buffalo. Why? This is because the Canadian government has not agreed to allow them to travel to the United States to play in various cities, including Florida, and watch them play in Toronto.
The scene can be repeated. According to Mark Topkin, Jaycee executives have a chance to play in the US again. If that happens, it will be their first choice in Dunedin, Florida.
Project # 1 could obviously play out in Toronto, but Jayce is preparing to not be caught at the last minute like 2020 did. The season has begun and it will be remembered that Zeus has no home.
At this point, it is clear that this is not Dunedin and Buffalo in Juss' view – Jayce owns a miners club in Dunedin and not just because he plays bison.
Why is that? Because guys who love Florida more than buffalo. This is because Zeus has an updated spring arena that is more suited to majors. Because the weather is good all year round. Because the guys have houses there. Should I continue?
In 2020, fear of a virus that struck more severely than anywhere else in Florida drove Jayas to the buffalo. In 2021 the situation will be different.
Apparently, Jayce could start the season there (like the raptors playing Tampa in the first half of the season) and move on to the Toronto midfield.
Note also that these talks did not prevent George Springer from signing with Jayas. So he can play his first games with Jays in Florida.
I think the fans in Toronto have never seen the Hyun-Jin Ryu pitch in the city in a regular game.
According to journalist Topkin, since the race season can be watched with 7,000 spectators, Jayce will be able to keep some of the stadiums in their arena. We're talking about having a pro ratio of about 1,500 to 2,000 fans. But nothing has been confirmed yet.
So the file to follow.
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About the Author: Seth Sale
"Passionate creator. Wannabe travel expert. Reader. Entrepreneur. Zombie aficionado. General thinker."


You can read all the girls' vocation stories on the Sisters' Web site, www.sistersofmary.org – and when you do, say a prayer for each of them!
What a wonderful post!!! It is so great to see so many young aspirants!!! God bless them(and you!:) and lead them to His Heart!!!


text:
Les jeunes pousses disruptives, ou de rupture ( en anglais), sont de jeunes entreprises développant des techniques considérées comme fortement novatrices.

Définition
Les jeunes pousses disruptives sont de jeunes entreprises développant des techniques considérées comme fortement novatrices.

Le terme est employé pour qualifier une jeune pousse qui développe un produit exploitant une innovation d'ingénierie significative, de rupture. Le terme est issu de l'anglais. .

Trois grands critères distinguent une jeune deeptech des autres entreprises: elle propose un produit qui apporte une forte valeur ajoutée sur son marché, elle exploite une technologie disruptive souvent protégée par un brevet et elle se développe en lien étroit avec la recherche (collaboration, licence de brevet, chercheur entrepreneur...).

Elles requièrent de longs cycles de recherche et développement (R&D), voire de recherche scientifique, et de coûteux investissements avant d'atteindre un segment de marché et de pouvoir prétendre à un succès commercial. La propriété intellectuelle, la propriété industrielle (PI) ainsi que le savoir-faire qui s'y rapporte sont généralement très protégés et difficiles à reproduire, ce qui constitue un avantage compétitif important et une barrière pour la concurrence.

Un terme catégorisant
Du point de vue commercial, les jeunes pousses disruptives se distinguent par trois caractéristiques : potentiel d'impact important, long temps de maturation et besoin substantiel de capitaux.

Les innovations portées sont généralement radicales et peuvent créer de nouveaux marchés ou disrupter ceux existants. Ainsi, les jeunes pousses disruptives touchent souvent à des problématiques sociétales ou environnementales ayant de potentiels impacts sur la vie quotidienne. Les circuits intégrés sont un exemple d'innovation de rupture, permettant des calculs à des vitesses auparavant inimaginables.

Le temps nécessaire pour passer de la recherche fondamentale à une technologie commercialisable est beaucoup plus important que celui de développement des jeunes pousses (start-up) exploitant des techniques préexistantes (« shallow tech » ou techniques peu profondes) telles que les applications mobiles, les sites internet et les services de commerce en ligne. Par exemple, le développement de l'intelligence artificielle a pris des décennies, alors que des entreprises basés sur l'IA se développent maintenant dans nombre de secteurs. En 2019, selon Hello Tomorrow, il faut en moyenne quatre ans pour atteindre le marché dans la biotechnologie et  dans celui de la blockchain.

Les énormes besoins de financement dès les stades de R&D, de prototypage et la lenteur du développement de ces jeunes pousses les obligent à abandonner les circuits de financement de type amis/famille pour se tourner vers les circuits de financement de type Business angel, Capital d'amorçage ou des tours de table pour élargir leurs actionnaires pouvant mener jusqu'à une introduction en bourse ou une vente commerciale.

Domaines d'actions des start-up deep tech
Selon les recherches effectuées par le Boston Consulting Group et Hello Tomorrow, organisation française qui étudie les innovations de rupture, les sciences des matériaux, l'intelligence artificielle, les biotechnologies, la blockchain, la robotique, la photonique, l'électronique et l'information quantique sont les domaines où les jeunes pousses disruptives (Deep tech) sont les plus nombreuses.

L'agriculture, les sciences de la vie, la chimie, l'aérospatiale et les énergies propres sont les domaines d'application les plus fréquents

Histoire
Le financement des jeunes entreprises disruptives a augmenté au fil des ans. Selon le Boston Consulting Group, l'investissement total dans les entreprises de biotechnologie est passé de 1,7 à  de dollars entre 2011 et 2016.

Les investissements sont principalement concentrés aux États-Unis et en Chine. À eux deux, ils totalisent 81 % des investissements privés entre 2015 et 2018 pour respectivement 32,8 et  de dollars. La Chine est le principal moteur des investissements dans les technologies de rupture avec une croissance de 80 % chaque année, contre 10 % pour les États-Unis.

Les investissements privés y ont augmenté de 20 % depuis 2015 et atteignent presque  en 2018. On recense en France 200 nouvelles startups deep tech par an pour  d'euros investis en 2019 et autour de  créés.

Les pays européens sont également actifs : en 2017, selon le Financial Times, les levées de fonds atteignaient trois milliards de dollars pour six cent transactions.

Des entreprises telles que Google, Facebook, Amazon, IBM et Apple montrent un intérêt accru pour les entreprises disruptives dans les domaines de l'intelligence artificielle, de la réalité virtuelle, des drones et des véhicules autonomes. Les incubateurs de jeunes entreprises délaissent de plus en plus le domaine du numérique pour les innovations de rupture. En 2016, Y Combinator (un incubateur américain) comptait trente-deux jeunes pousses (start-up) disruptives, dont neuf en biotechnologie, quatre liées aux drones et trois touchant au matériel informatique.

Exemples contemporains de deep tech

Notes et références

Articles connexes
 Capital risque

Création d'entreprise
Science
Ingénierie

redpajama_set_name: RedPajamaWikipedia


In case you are looking for a San Francisco County appearance attorney and you did not just randomly happen to get here, then you are in the right place. AppearMe is a new app that makes it easy and fun to find an appearance attorney near you. But first, what do you know about San Francisco County Superior Court?
The San Francisco County Superior Court is a branch of the California Superior Court. It has a jurisdiction over the City and County of San Francisco. Katherine Feinstein had been the presiding judge of the court for twelve years, through 2012. Later on, Judge Cynthia Ming-Mei Lee was elected the new presiding judge on June 27, 2012. Moving on, the court is composed of 52 judges and twelve commissioners. And currently, the court has two commissioners.
It turns out that by using AppearMe you can solve all your problems: never miss a court appearance again. I know that it can be very stressful and nerve-wracking. So, is your case under the category of bankruptcy, civil law, criminal law, family law, immigration or traffic related? If yes, then stop thinking and start typing. You can assign an appearance attorney to appear for you in court.
Sign up to AppearMe either on the web app or on your mobile. Create your case and find a San Franciso County appearance attorney. And now you have nothing to worry about. After your case is closed your appearance attorney will provide you with a summary of your case. If you like the sound of this, join AppearMe.
Moreover, AppearMe's appearance attorneys are in all of the counties of California. So it does not matter where you are, you can still count on us.


Oh thank goodness it's Friday!
This week was better than last, so that's something.
But, I love this Teddy quote and always love From Scratch. It's a concept I've been trying to put into action the last few weeks. There's a lot to accomplish, with limited time and resources, but it really all comes down to doing what you can with what you have and starting now. It's becoming my mantra these days.
Joining in with Karli at September Farm again for this week's linkup.
1. It snowed this week. The second week of September. So as much as I'm excited for some fall weather, I'm not ready for winter just yet. I wore a summery dress on Monday. On Tuesday it got cold and on Wednesday it snowed. I love scarves and boots and crisp mornings as much as anybody, but I need just a bit more warm weather before we return to the frozen tundra. Hopefully my tomatoes survive.
2. Mice are back in the cars and between the floors. Probably because the temperatures dropped. We're trying all kinds of things to get rid of them. Other than a cat. We're going to need a barn cat.
3. I had a big interview with a top-level military commander, spent the morning of 9/11 with airmen and firefighters and wrote this for our weekly staff editorial that ran today.
4. Still putting the final touches on the new rink website, but it's just about ready to launch. I'm feeling pretty good about getting all of that knocked out.
5. Booking a flight back to D.C. for a military reporting conference in a few weeks. It will be great to get out of town for a few days, even if it's work related, and get back to one of my favorite cities in the world and see some old friends.


Saber Interactive has announced that NBA Playgrounds 2 will release on Nintendo Switch this month, a sequel to the their over-the-top two-on-two action-arcade basketball game.
With new moves and power-ups to bust out, improved AI and new player models and animations, there's a new Playgrounds Championship mode, a worldwide ranked league with multiple competitive solo and co-op ladders, and a single player Season mode that will challenge you to lead a team through the regular season and playoffs.
There are also four-player online matches, co-op matches against AI, improved matchmaking with dedicated servers, the return of three-point contests, custom matches, and more.
The game will launch with more than 200 current and retired NBA players such as Stephen Curry, Kevin Durant, James Harden, Kyrie Irving, LeBron James, Russell Westbrook, Giannis Antetokounmpo, Anthony Davis, DeMar DeRozan, Damian Lillard, Karl-Anthony Towns, Shaquille O'Neal, Magic Johnson, Dr. J., Allen Iverson and Larry Bird.
NBA Playgrounds 2 will release on the Nintendo eShop for Nintendo Switch worldwide on May 22nd, priced at $19.99.


Rika: This time I knew I had to have this last talk with Hayama-Sensei, who raised "Shibuki Jun," so I requested to interview her!
Hayama: Rather than say "raised," I'd say you thrived on your own *laugh*.
H: But the years really have passed quickly.
R: That's true. I first met Hayama-Sensei in my honka-sei (2nd) year at the Music School. In my time, only honka-sei could take classes with her, so we went to the first class with hearts pounding. Sensei called on me, and then said, "Wrong! Like this!" angrily *laugh*. That was our first meeting.
H: Back then Rika was all arms and legs… though now they're even longer.
R: Even during practice it felt like the older members were eying us; like we were sitting on a bed of nails *laugh*. There was an amazing amount of responsibility and pressure but I really was so happy to be allowed to dance, and I felt as if I was getting a sense of being a professional on stage. I think that number was where I originated.
H: Because you and the others worked so hard at it, lots of voices were raised to have more of those kinds of numbers. Everyone who was in that dance went on to shine brightly.
R: Kouju Tatsuki, Takumi Hibiki, Shizuki Asato, me… Four from that group went on to lead troupes. Though before that role no one knew who I was *laugh*.
H: But, ever since your hatsubutai you really stood out. The company got a call from a newspaper reporter who saw your rockette dance, asking "who was that member such-and-such in from the right?" Our answer was "A Rockette Beauty," and we had to do that once before for Mao (Daichi Mao), but you became another stand-out.
H: But then after that *laugh*.
R: I didn't study *laugh*. I thought, "I entered Takarazuka to dance, why do I have to act," and although I wanted to dance all of my grades were bad, so I wasn't allowed to *laugh*.
H: Even in the shinjin koen you walked around with your stomach sticking out, and it was ridiculous *laugh*.
R: That was "Aru Hi Bara Ichi-rin," wasn't it? I played the second-ranked heroine's lover, but when I was walking I couldn't speak my lines… That opened up my eyes ("I have to try harder!") and I asked you for dance rehearsal time. It was during the day off from rehearsal, so I was thinking "I don't want to go," but I went to try and in the end I thought "I'm glad I went" … It made me upset, and at the Hankyuu train station I was crying "Waaa~h" *laugh*.
H: You often cried noisily when you were hurt, but that time you certainly took a step forward. For a dancer to have a lead in a play you have to be able to dance when in positions where you can't breathe, and that's difficult. But you continued on not just in dance, but in acting as well, step by step, and worked very hard. A "she'd go that far!?" kind of thing.
H: Even as you worked so hard there were still moments when you got hurt. Even though I said, "Don't lift your leg so high!" BANG! Up it would go, and you'd slip and wail… But you'd go so far that you'd live your role until your transformations were amazing *laugh*.
R: I enjoy transforming myself *laugh*. My first solo dance was one you choreographed, and there was an accident that made me miss the performance, which is a real shame. Sensei was there for me during all my turning points. That's why I think the entity "Shibuki Jun" couldn't exist without you. It might be impudent, but it feels like the time I met you as a honka-sei was just recently.
H: Sorry for bring up the experience *laugh*. But in an instant you became capable. A true transformation *laugh*.
R: I only danced that at the last run in Tokyo, but happily I'll also be dancing it in my Sayonara Show. For me, dancing on a stage bigger than anything in coattails was a dream, and I'll never forget my joy when it came true.
H: Whenever I was searching for someone who would try something like that – it was always Rika.
R: Occasionally if she tells me "dance this small section properly" I'll be at a loss, but in spite of that she has continued making new choreography for many years. Isn't this an amazing thing…? Are you constantly aware of polishing the emotions?
H: More than polishing the emotions – Number one is the idea, after that is the sweat and effort, I suppose.
H: Even the people we call geniuses are the same. Without any study they can read music and play the piano… but after that it's all effort. So even for me it's all effort among the hundreds of students, even the ones who seem on their way to stardom, that's due to effort.
R: I hate the word "effort," but in the end I think it really was effort.
H: But you hate to show when it takes you effort, right? Because you're shy and such a show-off *laugh*.
R: *laugh* You're probably right. I hate acknowledging my own nervousness on stage. I hate to be defeated.
H: If that wasn't so, you wouldn't have this job. You also hate to lose first place to another.
R: Will you make your choreography more painful? It's already the end for me, so that's fine *laugh*.
H: *laugh* You say the finale dance for "Bara no Fuuin" is a dance saying thanks for the production and you really danced it with that kind of feeling. Though it took you quite a while to learn the moves *laugh*.
R: "Thanks for my bed, thanks for the Grand Staircase, thanks for the audience"… when I was doing the choreography, that meaning came clearly to me. I tried to convey that to the other members of my troupe as well, and everyone burst into tears *laugh*. So I wanted to make the audience feel that as well.
H: That's serious, that kind of performance.
H: Really? The choreography was for simplicity. But there are so many memories in there, it makes sense that it's heavy.
R: Now there are many outside choreographers coming here, but when you think of "Takarazuka otokoyaku" it's always Hayama-Sensei who raised them. You're the teacher who makes girls able to perform as good otokoyaku, the teacher most related and best able to grasp "Takarazuka-like," and how to show off beauty the best. Please let me call you "sensei" after I graduate *laugh*.
H: *laugh* In the "Bara no Fuuin" program, Ikeda-Sensei's words written to Rika were: "Thank you. I'm glad to have met you!" I too really feel the same way. So until the end let's both of us do our best with spirit, be careful of injuries, and have no regrets.
R: Yes. Thank you very much!


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text:
Charlotte - January 31st, 2010
Locations (January 31st, 2010)
Washington (10%)
Beijing (06%)
Gaza (06%)
Dubai (05%)
New York (04%)
London (04%)
Delhi (03%)
Tehran (02%)
Manchester (02%)
Copenhagen (02%)
Johannesburg (02%)
Melbourne (02%)
Seattle (02%)
New Delhi (01%)
Kabul (01%)
Seoul (01%)
Phoenix (01%)
Los Angeles (01%)
Pyongyang (01%)
Miami (01%)
View Archive (2010)
Associated Locations
San Francisco (12%)
Denver (12%)
Dallas (12%)
Las Vegas (12%)
Austin (12%)
Naples (12%)
(3) Forbes America's New Housing Crisis Capitals
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Gallo - Roman Villa of Plassac
History of "Friends of old town Plassac association"
Welcome to the Gallo- Roman villa of Plassac
gallo-romaine
This site was made by the friends of old town Plassac association in order to provide a full range of useful information to tourists, teachers and their pupils, hikers and walkers, and all the people who are interested in the historical, archeological and natural local heritage.
First, the archeological space of the Gallo Roman villas is presented (linked to the website plassac.gironde.fr, property of the department board of Gironde) and the nearby museum established and handled by the association. Visiting and entrance ticket (including on line) purchase conditions are indicated as well.
With Plassac being certified an "old town", the site also enables users to discover the main elements of the local and small heritage: history, guided hiking or walking tours, Montuzet's former convent, the harbor, Monconseil or Bellevue chateaux, Saint Pierre church, green island…
The department board of Gironde arranges guide and hosting services around the site, the museum and the virtual reconstitution.
The associative museum
"The friends of old town Plassac association" is presented for citizens and local collectivities; how the association is run and projects being put into place are shown.
Finally, a dialogue box enables the potential visitors or scientists to get in touch with the people in charge of reception or with the leaders of the association.
From Bordeaux, on the A10 motorway, take exit 40 a (Royan-Blaye,) drive to Blaye. You can also take exit 40B and drive through Bourg/Gironde.
Two car parks are at your disposal near the archeological site (close to the church or city hall).
Site visit - Guided tour of the museum by pupils from Vauban high school
from 10:00 to 12:00 and 2:00 to 4:00 followed by a Gallo Roman buffet
Monday, May 22nd
12:00: Gallo Roman lunch at the application restaurant of the Estuary vocational school with animations by some pupils from the high school
April and September :
10:00 to 12:30 – 2:00 to 5:30 every day (except on Sunday morning in April)
May to August : 10:00 to 12:30 and 2:00 to 6:30 (every day)
October : 2:00 to 5:30 (Saturday and Sunday)
The rest of the year, groups are welcomed by making reservations with the museum at +(33)557428480
Booking tickets
Full price: 5 €
Discount rate: 3 € (children 8-16 and groups from 10 people)
Museum: the friends of old town Plassac association (+33)557428480
Schools : This email address is being protected from spambots. You need JavaScript enabled to view it.
Villa gallo-romaine de Plassac - Dépliant
Format Document Adobe Acrobat PDF, 630,54 Ko
© 2023 Gallo - Roman Villa of Plassac


text:
The Motor Ombudsman sees record level of customer contacts during opening four months of 2017
The Motor Ombudsman reports 45% increase in consumer contacts for January to April 2017 compared to the same period in 2016*
Vehicle Sales Code of Practice attracts the most contacts from motorists at over 1,000 every four weeks
Year-to-date, car quality, the standard of work carried out and warranties are the source of the majority of customer concerns
Around 95% of contacts are successfully concluded by adjudicators each month without a case having to be raised
London, 30 May 2017 The Motor Ombudsman, the automotive dispute resolution provider, has reported a record level of contacts to its dispute resolution service during the first four months of this year, compared to the same period in 2016. The body's legally-trained and fully-impartial adjudicators, who look to conclude unresolved disputes quickly and fairly between consumers and its accredited businesses, which include thousands of garages across the UK, 39 vehicle manufacturers and 11 warranty providers, received over 11,300 contacts relating to its four Chartered Trading Standards Institute (CTSI)-approved Motor Industry Codes of Practice. This equates to a 45% rise versus the same period in 2016. Providing information and assistance to businesses accounted for a further 484 enquiries to April, a 231% jump compared to a year earlier.
The Vehicle Sales Code of Practice, which provides detailed guidelines for the sale of both new and used cars, as well as the supply of finance and warranties, saw the highest level of contacts out of any Code in The Motor Ombudsman's portfolio. As awareness of the Code amongst UK motorists has continually grown following its introduction last September, the number of contacts has averaged over 50 per day since the start of the year, and reached a monthly record of 1,259 last month. Similarly, The Motor Ombudsman witnessed the highest ever volume in a single four-week period, with April recording 3,343 contacts, rising above the monthly average of 3,259 seen during the first quarter of 2017.
The largest source of customer concerns brought to the attention of The Motor Ombudsman since April have related to the quality of a used or new vehicle at the time of purchase, the standard of work carried out, and warranties. An average of 95% of the contacts received every month are successfully concluded without the need for a case to be raised thanks to The Motor Ombudsman's highly experienced adjudication team. In addition, the volume of cases requiring a legally binding final decision from its in-house ombudsman, has ranged between 7 to 14% for the first four months of the year.
Holly McAllister, Head of Customer Service and Quality at The Motor Ombudsman, said: "Ever-increasing awareness amongst consumers and automotive businesses of the value that The Motor Ombudsman offers has resulted in a significant uplift in the level of contacts that we have received since the start of 2017. The arrival of the Vehicle Sales Code has equally meant that we can now formally adjudicate on issues relating to the sale of both of new and used cars."
Holly adds: "Case volumes as a proportion of contacts remain low which demonstrates the great efforts that all parties are going to in order to resolve any disagreements before needing formal adjudication which is very encouraging for all involved."
*The January to April 2016 figures relate to Motor Codes.
Notes to editors Top five overall subjects of customer contacts (January to April 2017)
91% of Vehicle Sales Code contacts related to the quality of the vehicle at the time of purchase
57% of Service and Repair Code contacts related to an issue with the standard of work
48% of New Car Code contacts related to a warranty
44% of New Car Code contacts related to advertising
24% of Service and Repair Code contacts were as a result of a booking issue
About The Motor Ombudsman
The Motor Ombudsman is the automotive dispute resolution body. Fully-impartial, it is the first ombudsman to be focused solely on the automotive sector, and self-regulates the UK's motor industry through its comprehensive Chartered Trading Standards Institute (CTSI)-approved Codes of Practice. Thousands of businesses, including vehicle manufacturers, warranty product providers, franchised dealers and independent garages, are accredited to one or more of the Codes, which drive even higher standards of work and service, and give consumers added protection, peace of mind and trust during the vehicle purchase and ownership experience.
For more information on The Motor Ombudsman, visit www.TheMotorOmbudsman.org
The Motor Ombudsman media contact:
Simon Wittenberg
PR Manager The Motor Ombudsman Telephone: +44(0)20 7344 1609
E-mail: swittenberg@tmo-uk.org


80K for a Grand View Las Vegas Timeshare was the offer Katrina received on March 2018.
A quick Google search made Katherine suspicious–after all, the offer seemed too good to be true: 80k for her Grand View Las Vegas Timeshare? There had to be a catch.
And indeed there was. A quick call to our Timeshare Scam Hotline confirmed Katherine's hunch.
Yes, this was 100% a scam offer.
We had Katherine forward the documents and details of the offer so we could investigate.
Their sales price of $80,000 was the first red flag. Grandview at Las Vegas currently sell for less than $1,000 per ownership.
The fact that they were asking for a wire to the Dominican Republic was the biggest red flag. There is no reason to wire funds to a different company in a different country when the closing agency and the resort are both located in the US.
Then we checked both Nevada and Oregon's Business entity database online and Bavaro Timeshare Closing is not registered in either state.
Their address in Oregon is doesn't exist. Their address in Las Vegas is a UPS store!
Next, we checked their website registration to verify ownership and date the website was started. The website was registered in August of last year by a person in Las Vegas who listed his address as a Walgreen's Pharmacy.
Finally, Bavaro lists ARDA(American Resort Developers Association) membership on their website. However, Bavaro Timeshare Closing is listed on A.R.D.A.'s website as a fraudulent company using their logo.
We recommended Katherine cease all communication with this company and report this crime to the appropriate agencies.
Bank Address – Ave Sarasota #163 Santo Domingo , Dominican Republic .
Account Holders address > calle Erik Leonard Ekman # 07 , Santo Domingo , Dominican Republic.
Below is a screenshot of Bavaro Timeshare's website. To an unsuspecting consumer, this website looks legitimate. However the reviews are not third-party verified, Bavaro is certainly writing their own reviews. These scammers are also using the logos of legitimate businesses, making it appear as if they are associated with them, to give the illusion they are a professional company within the timeshare industry.
I am sad to tell you guys that I just been scammed by this group of people, I feel very stupid and confused and not sure how I share this information.
Went to my local police station and they have no idea how to go about this problem.
Hello Hector, if you have already sent money then you will not be seeing it again. I'm sorry you had to find this out the hard way. What state are you in? We can send you some instructions on how to report this crime to authorities.
Hola Angel, Gracias por informar de esta empresa!