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D&D General Is there an increase in "godless" campaign settings?
Thread starter Libertad
By this, I do not mean worlds where everyone is some degree of atheist. Rather, I mean one with settings where the existence of gods are either in question or where clerics likely derive their powers from another source.
On the official side of things, Eberron and Ravenloft technically qualify. While prayer and faith grant spells, nobody is really sure if deities such as Ezra and the Sovereign Host exist in the way they're portrayed by religious institutions. In Eberron's case, the fact that people can get spells from non-divine power sources helps reinforce the idea of divine magic being more subjective.
I haven't read much of Ravnica, but from a brief Google search it seems to be a setting where the worship of deities isn't common.
Over on the third party front, I've seen a number of such settings both popular and obscure. In the dark fantasy RPG Grim Hollow the gods used to exist, but were destroyed in a war with eldritch abominations so their angelic and devilish servants are shouldering the burden of attending to mortal affairs. My recently-reviewed Koryo Hall of Adventures has pseudo-Buddhist personal self-improvement and animism in place of deity worship, where in the latter case people broker deals with less powerful localized spirits. The old gods are believed dead and gone, thus causing these two religions to become the dominant forms of faith. Legacy of Mana (currently vaporware) never had gods or god worship to begin with, with paying reverence to the planet itself serving such a purpose. The World of Alessia has an all-encompassing faith known as the Light, although it seems to lack deities and instead focuses more on mortal-focused self-improvement and good works. I'm still in the process of reading this book, so my knowledge may be incomplete.
I don't know how appropriate it would be to include conversions of "D&D but not exactly" products such as Beowulf: Age of Heroes. Such RPGs use 5th Edition D&D as the mechanical chassis, but have worlds that majorly depart from the standard.
Is this merely confirmation bias on my part, or is there a growing number of settings both official and third party where divine influence is less prominent and not taken for granted?
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Steampunkette
Shaper of Worlds
Dark Sun and Ravenloft. Both of them have 0 deities and were created back in the 80s and 90s. They've never had gods.
Planescape attempted to demystify deities by making them "Smaller" than they are in most settings. Just particularly powerful entities in the 90s.
Dragonlance, back in the 80s, had "No" Gods, and everyone knew it, except Goldmoon who held faith.
Eberron was early 2000. And while it has gods no one's sure if they're real and even if they are they're more concepts than manifest single entities.
It's been a recurring theme for a long time. But I think it hit it's peak for D&D settings back in the early 90s.
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In my Homebrew, there is a greater god from which everything spark: Ao. He had two children - the Light (The Positive Energy Plane) and the Dark (The Negative Energy Plane). Generally speaking Ao does not interact with anything, and the Light and the Dark do so in a very alien way. They had three children (Bahamut, Tiamat and Vorel, and from them came all other beings over time. After all was said and done, it was discovered that faith could grant power to anything, and if that faith was in something that did not truly exist, that power could manifest in many different ways that conformed to the faith. However, many beings do not believe there to be anything sacred about the Gods - they're just powerful, not special, to them.
You can be:
an Atheist (The Gods are nothing but powerful creatures and do not deserve our faith),
Agnostic (Not sure if they're just powerful creatures or if they deserve our worship - I don't have all the answers),
Monotheistic or Deistic (Ao is the one true God from which all came, even though he does not interact with the world as his descendents do),
Duotheistic, (Ao isn't really a being -just the universe itself. The Light and the Dark are the true Gods),
Pantheistic Henotheistic or Polytheistic (They're all Gods - but I may align with one),
Impersonal Idealistic (Love is my God), or
Loosely Animistic (I believe that Meepo the Kobold, a block of cheese, or my ancestors corpses are my Gods).
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jgsugden said:
You forgot pantheistic multiple-ego solipsism
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Alzrius
The EN World kitten
Steampunkette said:
Well, Ravenloft had Ezra, who was actually presented as a deity of demigod rank in Dragon #359 (the final print issue).
Likewise, while it was never published before the 2E line ended, Dregoth's Coruscation would have had him successfully becoming Athas's first true god if the PCs didn't stop him.
That sounds like chant from the Athar to me, cutter.
And Verminaard, don't forget. I was always struck by how he was a cleric of Takhisis before Goldmoon found the Disks of Mishakal.
While it reiterated that Eberron has no gods, Keith Baker's article "Eternal Evil: The Lords of Dust" noted how the actual rakshasa rajahs' stats were built with the rules from the 3E Deities and Demigods (affiliate link).
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Daraniya
I assume that all clerics are just warlocks with powerful patrons... Warlocks don't advertise their patrons, but who says you can't start a religion around a world tree or djinn?
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Faolyn
Ravenloft has gods: Ezra, Hala, the Lawgiver, the Morninglord, Yutow, the Wolf God, Belenus, the Akiri pantheon. Those gods might even be real, in the sense that they are the ones providing the divine magic. And even if those spells are actually provided by the Dark Powers, many people believe the gods exist.
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Goblin Queen (She/They)
Yes, I do think agnostic settings are growing more common and more popular. I say "agnostic" rather than "godless" because, as many have observed, many of of these settings aren't truly without gods, but it is often unknown if the gods are real, or if they're really gods. I would guess that this is a related phenomenon to the push for more nuanced, playable monster races. A lot of folks these days prefer their fantasy to have lots of moral and philosophical nuance, rather than the simpler, more archetypal good vs. evil stories.
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Dessert Nomad
I think a big contributor is that the standard D&D religions weren't well thought out, and are just sort of a mix of Christian ideas with polytheistic pantheons, then aren't integrated into the game world much. I think if the baseline for the game was either "Christianity with the serial numbers filled off" or something more like traditional polytheistic religions (where people worship gods on an ad hoc basis and in a more "bargaining" style) and that was integrated more tightly into formal game worlds and the semi established standard background, you'd have something more enduring. As it is, the baseline religion for D&D is complicated without being interesting and doesn't add much mechanical or flavor benefit to the game, so it's not surprising that people ditch it.
That's a gross misunderstanding of DL. In DL the gods were forgotten or even reviled for abandoning/punishing mortals, but that was a failure of those mortals, not the gods. DL is the exact opposite of an "atheistic" setting.
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Reynard said:
Everyone in the setting was either Atheist or Agnostic (Except Dragons, of course, and Goldmoon). And held no faith in the Gods that "Abandoned" them.
Which is why I put "No" in quotation marks.
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Dausuul
Charlaquin said:
I think the driving force is simpler than that: Active interventionist gods tend to hog the spotlight. The entire world shapes itself around their power plays and conflicts, and mere mortals get reduced to pawns in a divine chess game. There are ways to prevent this from happening, of course, but you have to go out of your way to do it, wasting page count and creative energy to tie these giant beings up so mortal deeds have room to make a difference. It's much easier to just not have the giant beings in the first place.
However, the traditions of D&D require the existence of a cleric class powered by religion. Solution: Make the gods distant and unknowable, to the point that it's unclear if they actually exist or if the cleric's power is just a different form of wizardry.
I've seen this same evolution in my own worldbuilding. I used to have worlds with big flashy gods, but it always made the PCs seem smaller, and over the years I've drifted more toward the "agnostic setting" side.
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Libertad said:
I commented on the RPG.net version of your thread, but 1) Beowulf is D&D, under the OGL -- it just has a new class with six subclasses -- and 2) more importantly, it's replaced alignment with religious affiliation, with the primary choices being Christian or the Old Faith, neither of whom would qualify as "godless."
Dausuul said:
I think the driving force is simpler than that: Active interventionist gods tend to hog the spotlight.
Almost by definition, active interventionist gods are practically unkillable DMPCs. Some people really like those things, but I think most people don't or find them actively obnoxious.
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Whizbang Dustyboots said:
I mean, I suppose I could've referenced the Spy Game which is set in the modern-day, but that'd be less fair than Beowulf.
Beowulf may not be the best example given the importance of religious beliefs as a game mechanic, although the exact nature of divinities is left rather murky.
Faolyn said:
OTOH, Theros.
Also, I'm not sure we can equate any powerful NPC with a DMPC, unless you have the gods adventuring with your party, which is something I've never heard of.
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Flamestrike
Id still be atheist if I found myself on Greyhawk, Mystara or Faerun.
The 'Gods' there arent really Gods, just powerful outsiders. Heck a few of them have been killed by Mortals (or were once mortal).
They dont know anymore behind whats going on than we do.
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Yaarel
Mind Mage
But Theros is remarkably nuanced. There the "iconoclasts" are legitimate too.
In reallife, Socrates and Buddha were openly skeptical about gods. Both denied the ... sanctity ... of the gods. Socrates argued that being pious toward one god, inevitably angered a rival god, making polytheism itself useless. Buddha argued that if gods exist, it meant they havent reached Enlightenment yet, thus were as ignorant as humans.
Especially D&D "gods" deserve this kind of deep skepticism.
Theros is aware of these points of view, and nods.
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King Babar
God Learner
Flamestrike said:
At the risk of hijacking the thread and going off topic... What is a god if not a powerful being/outsider? And how is being formerly mortal or killable disqualifying? By that metric most gods from a multitude of different mythologies wouldn't qualify as gods.
King Babar said:
At the risk of hijacking the thread and going of topic... What is a god if not a powerful being/outsider? And how is being formerly mortal or killable disqualifying? By that metric most gods from a multitude of different mythologies wouldn't qualify as gods.
A "god" is a personification of some important feature of the cosmos, who demands hierarchical servitude.
Two things are going on. Both the symbol of what is important. And the social enslavement.
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D&D General Are There Official Fantasy Religions That Have "'Heaven' By Community Judgement"
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The second issue of Proteus saw a change to slightly larger pages and the introduction of the infamous free poster. It also came with two free dice, in the same shade of green as the spines of most Fighting Fantasy books. The rules are essentially the same, but there are no potions, just two spells and one magical item given to you before you set out.
Apart from the bit where the info-dumping Wizard in the preface mentions that he's soon going to have to be buried again(!), the introduction is very straightforward. Precious artefact (a magical headstone) lost in hazardous place (the eponymous mines), others have sought it and never returned, death and disaster if it should fall into the wrong hands... In a Forest of Doom-esque 'twist,' the headstone has been broken into three parts, all of which must be found and reassembled. However, there's a convenient mystical Mcguffin that teleports the pieces back to where you find them if you try to leave the mine with just one or two of them, conveniently avoiding the 'winding up with three hammer heads and no handle' bug mentioned in a review of FoD.
Essentially, TMoM is a self-proclaimed item hunt inside a whacking great maze - not the most original concept, but it'll do.
The writing has its good and bad sides. Unlike the sequence set in the mines in Island of the Lizard King, you get no sense of being in a mine, so this adventure could just as easily have been called The Dungeons of the Dagraig or The Caves of something beginning with C. Still, the text is trying harder to evoke an atmosphere than Proteus 1 did. The inclusion of a couple of Nasnas plunders a patch of folklore ignored by every other gamebook I've ever encountered, but as they function as generic monsters to be fought, it's rather a wasted opportunity.
As in Proteus 1, there are fewer instances of being denied the opportunity to go back the way you came than in the average FF dungeon crawl, but a few can be found. In consequence of a related issue, two of the three available options in section 1 guarantee failure. The mines are effectively divided into three sections, each containing one headstone fragment, and each of the options in section 1 leads to a different section. You can pass from section A to section B, and from B to C, but not B to A or C to anywhere (thanks to one-way doors and booby traps rather than contrived character whim). However, this isn't as annoying as when Ian Livingstone does it because you don't get killed if you leave the mines without all three fragments.
As regards combat, it's not as weighted in favour of high-Dexterity characters as the majority of such adventures. For once, it's true that someone with lousy initial rolls has a chance of making it through. On my first attempt while replaying TMoM as research for this I got a character with the minimum possible Dexterity, and while he did get killed fighting the toughest unavoidable foe, it was a very close fight. There are a few instant deaths, one or two of which are rather too arbitrary, but you've more chance of finding the way out too soon than of being boiled alive for taking the wrong turning. The correct path includes four unavoidable puzzles, three of which inflict Strength penalties if you get them wrong. There are no instructions on where to turn if you get the other wrong, which is a minor bug. TMoM has a few other flaws as well: section 146 assumes you've passed a certain door before, when it is possible to have avoided it, though only by following a needlessly convoluted route. In section 162, 'rejuvenation' should be 'regeneration.' You're worried that the Brimgeth might be coming back to life, not that the corpse might be starting to look younger. The plaque near the exit reading, "All that is written above the levers is false," is above the levers, and thus creates a paradox. Though there's a section covering what happens if you leave the mines with just two fragments, it only appears to be possible to leave with none, one, or three.
While not technically a mistake, the lack of any sense of scale when the layout is described is annoying. If you're trying to map the place, be prepared to keep having to extend corridors in order to fit everything in and make sure the passages link up where they should. This is particularly bad in the 'Labyrinth of the Lost' because there's more than one section for each junction, depending on the direction from which you approach it. Thus, you can find yourself back at a place you've already been, but not realise that this is familiar territory because the paragraph number is unfamiliar.
The cleverest part of TMoM is the secret of discovering the third piece of the headstone, which has apparently baffled some people for years, yet is very simple. The artwork is a distinct improvement on Proteus 1 - still nothing spectacular, but only John Pickering's Liamorra really disappoints.
Ultimately, The Mines of Malagus is an unremarkable but adequate adventure, and it's not pretending to be anything else. While superior to its predecessor, it's still not that much of an argument against the commonly held belief that Proteus was just a series of second-rate mini-gamebooks.
from Eagle comic, October 5, 1985. Thanks to Ed Jolley for the scan.


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When the digital world doesn't reflect you, add your own voice
Sana Malik
September 29, 2017 | 11:26 am
This article originally appeared on OpenCanada.org on September 29, 2017 as part of a larger series with 6 Degrees Citizen Space 2017 speakers entitled Walls that need to go: Ideas for a more inclusive world. See full post here.
In my work as a journalist, I come across this argument regularly: our world is increasingly polarized and we are using technology to divide ourselves. It's a means to prove that niche digital communities are creating virtual walls, rather than virtual bonds.
I would offer a different view — in defense of digital storytelling communities across identities that are speaking to their own real, lived experience, and can no longer be ignored. These are communities that have always existed, but have not always been allowed to enter the conversation — as mandated by those with the power to set an agenda that is exclusive.
This has prompted communities and individuals to define and defy narratives on their own accord, rather than have them defined and framed for them. When people hear about "niche" community, they immediately think of the toxic alt-right's proliferation of hate speech and disdain, which has spread quickly and dangerously. They overlook the incredibly creative and entrepreneurial expression bursting out of places that have been mired in negative, helpless narratives.
When I look for inspiration on this front, I've found media companies and collectives formed by young people in Pakistan that have grown into far-reaching enterprises, reclaiming space and negative narratives about youth in a country pathologized by stories terrorism and violence.
In a similar vein, for young queer Muslims seeking solidarity and wanting their stories reflected back to them across borders, these communities and platforms present a critical opportunity. Sometimes, they are a means of survival. And women from Afro-Caribbean diasporas share some of the most inspiring and politically charged work I have seen online. Young people across the world who have long felt marginalized from and misrepresented by mainstream news are not interested in reductive narratives: they are creating and celebrating their own futures for the world to take note. And we need to listen.
There is a decisiveness in this digital age to no longer produce for the colonial, or "white" gaze — but to do things on one's own terms. They create without begging for recognition and room in traditional formats and media newsrooms. And with this unapologetic production, audiences grow and grow.
Meanwhile, traditional newsrooms need to reflect on their own practice. Some are being influenced by digital storytelling communities from around the world — from the ways that they report on certain identities and communities to the language that they use to do so — but they are still struggling with meaningful gender and racial representation in their own newsrooms.
To break down walls, we need both — greater representation in positions of power at influential media outlets and full support of the celebratory works of young people tired of being made invisible, and ready to define the terms that will dominate the next generation.
Sana A. Malik is the Founder and Creative Director of This is Worldtown, a platform featuring content exclusively by women of color storytellers from around the world. Sana is Pakistani-British-Canadian and previously worked in gender and development in Lebanon,Tanzania, Burkina Faso and the UK. She is currently pursuing an M.S. in Documentary Journalism at Columbia University in New York.

redpajama_set_name: RedPajamaCommonCrawl


My mother always told me that I was beautiful.
I knew that I wasn't beautiful, not in the way that princesses in fairy tales or fashion models or the older, made-up girls who worked department store cosmetics counters were beautiful. I was tall and awkward and gangly and frizzy-haired. Which, yes, I know, is exactly the way that fashion models and movie stars describe their adolescent selves, but I really was tall and awkward and gangly and also frizzy of hair – hair that I insisted, after seeing the movie Pretty In Pink, upon dyeing red, which did not help its texture – and prominent of nose. So I am not being coyly self-deprecating when I say that I believed – that I knew – that I was not beautiful. My mother wasn't lying to me, but she was, I knew, viewing me through mother-colored glasses, which as we all know are tempered and tinted and glazed with sparkles and stardust. Of course she couldn't see what I saw when I looked in the mirror. I was looking at myself with clear and critical eyes. She was looking at me with love.
I spent years struggling to come to terms with my looks. I wanted to be beautiful, but I didn't see beauty when I looked in the mirror, and so I costumed and primped and transformed myself relentlessly, one day playing the part of the poetry-scribbling goth (dark hair, Fleuvog boots, lots of eyeliner, dog-eared copy of l'Etranger), the other playing the part of the quirky outcast who really might be pretty behind her vintage rhinestone-encrusted frames (red hair, Goodwill sweater, antique brooches), yet another pretending to be an avant-garde performance artist who might or might not be rehearsing her one-woman dramatic reading of Gender Trouble (white blond hair, catsuit, cowboy boots.) (Oh, dear lord. The catsuits. Can we all just pretend that 1990 never happened?) My mother would ask me why I kept hiding. "I'm not hiding," I would say. "I'm expressing myself." And I was. I was expressing myself in a thousand different ways that I hoped would draw attention to the parts of me that were interesting, and away from those parts that I thought were, if not ugly, then, at least, unbeautiful. If I was interesting enough, nobody would notice that I wasn't pretty. I couldn't make the world look at me through mother-colored glasses, but I could surround myself with mirrored glass and dry-ice fog and disco lights and it would, I figured, amount to more or less the same thing.
It never felt like the same thing.
When I was in twelfth grade, I experimented briefly with not costuming myself. I kept the red hair but grew out the asymmetrical cut and trimmed my bangs and pulled my hair back and wore preppy sweaters and jeans and not much make-up. I acquired a pair of penny loafers, and I wore them unironically. My dad, at the time, was having what used to be called a nervous breakdown, and my parents' marriage was in crisis, and although they both assured me and my sister that we would be fine, that they loved each other very much and that they loved us very much and that we would be, really, fine, I worried. I worried constantly, and it seemed very, very important that whenever I walked out our front door I looked exactly as they saw me, through their mother- and father-colored glasses; that I looked like me, just me, unadorned. Why that translated, in my seventeen-year old mind, to Upper Canada Preppy – which is, of course, just another costume – I don't really know, but it seemed to me that this was the look that concealed me least, the one that involved the fewest distracting elements, the one that left me little or nothing to hide behind. It seemed important that I do that, that I not hide. It seemed, somehow, to be key to our family remaining intact, that I comport myself as though I were as beautiful as my parents thought I was, that I actively reinforce their view of me, their view of us, that I assert their rightness about how much beauty lived in our home, about how much beauty lived in us and surrounded us, always.
For some reason, penny loafers and blunt-cut bangs seemed a reasonable way to accomplish that.
I look at this now and I see what my parents saw and I think, of course I was beautiful. I don't know that I was any more or less beautiful in the penny loafers and cashmere-blend sweaters than I was in the goth eyeliner or the Goodwill costumes – I have almost no photographs from my costume periods – but it doesn't really matter: here, I felt exposed. I look at this picture and I think: the girl in that picture is beautiful. But I also think: the girl in that picture is terrified. Sure, it's the picture of a girl whose family is crumbling, but it's also the picture of a girl who's trying to disappear into her sweater, the better to hide her face. And I just want to hug her, and tell her that she's beautiful, no matter what she's wearing. I want to tell her that she has nothing to hide. I want to tell her that it is going to be okay – no matter how difficult things get – and that she will carry herself beautifully through whatever life throws at her, and that, yes, sometimes a chunky sweater will make it all a little bit easier to bear, and so will high heels and lipstick, sometimes, but that no matter what happens, and no matter what she wears to get through it, she will be beautiful. She is beautiful.
I want to race back in time to say that to her, and I want to leap into the future to say it to Emilia, whenever she hits that moment of self-doubt, if she ever does. But I know that I would be, that I will be – were I to, when I do, say such things – accused of wearing mother-colored glasses, of not seeing things clearly. And to that I would say, I want to say, I will say: yes, yes, I am wearing glasses. Mother-colored, maybe. Love-colored, certainly. And I want them for you, too; I want you to look at yourself, to look at everything, always, as through a love-colored glass, brightly.
And then I'll tell her that when the time comes, she really, really mustn't wear that catsuit.
What would you tell your teenaged self about beauty, given the chance? Would you tell her – him? – to stop worrying and love that nose? That someday, she'll be thankful for that thick hair? That it wasn't just you, that acid-wash jeans made everyone look like a dork? What will you tell your daughter, or, for that matter, your son? What do you look like when you look at yourself through love-colored glasses – or, what would you look like, if you dared put them on? Leave a comment and I'll select one of you, randomly, (yes, Canadians too) to receive The Beauty Of Different, which is an amazing, gorgeous, soul-lifting book by my friend Karen, who lives the art of looking at the world, and at people, through love-colored glasses better than almost anyone I know.
Thanks so much, you guys, for the lovely, soul-lifting comments. The winner of Karen's book is Johanna; the rest of you, I highly recommend that you put it on your holiday wish list.


text:
Q: How do I find CMRR?
How do I find the common-mode rejection ratio, CMRR for this circuit? I know I have to find differential gain and common-mode gain as 'differential mode gain/commonmode gain' but with current mirrors in, I'm having trouble finding it..
Could not find though I saw other questions posted here
Thank you

A: CMRR = 20 * log (|Gd| / |Gcm|)
Gd = differential mode gain
Gcm = common mode gain

Let's calculate Gcm:
Add two identical voltage sources Vs1(t) to the circuit: the first on VINP and second on VINN.
We have a common mode signal applied to the circuit.
Superposition now:
Turn off (short VINN to GND) the second and calculate:
G1p(t) = VTIA'(t) / Vs1(t)   or   G1p(s) = VTIA'(s) / Vs1(s)

Now turn off (short VINP to GND) the first and calculate:
G1n(t) = VTIA''(t) / Vs1(t)   or   G1n(s) = VTIA''(s) / Vs1(s)

Now calculate Gcm:
Gcm(s) = G1n(s) + G1p(s)

or
Gcm(t) = Gn(t) + Gp(t)

Let's calculate Gd:
Add two identical voltage sources Vs2(t) to the circuit: the first on VINP and second on VINN.
This time though flip vertically Vs2(t) on VIN in order to have a differential signal applied to the circuit.
Superposition now:
Turn off (short VINN to GND) the second and calculate:
G3p(t) = VTIA'(t) / Vs2(t)   or   G2p(s) = VTIA'(s) / Vs2(s)

Turn off (short VINP to GND) the first and calculate:
Gn2(t) = VTIA''(t) / Vs2(t)   or   Gn2(s) = VTIA''(s) / Vs2(s)

Now calculate Gcm:
Gcm(s) = G2n(s) + G2p(s)

or
Gcm(t) = G2n(t) + G2p(t)

Finally calculate:
CMRR = 20 * log (|Gd| / |Gcm|)

redpajama_set_name: RedPajamaStackExchange


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HomePCSOBettor wins Php 23.9M Lotto 6/42 jackpot
Bettor wins Php 23.9M Lotto 6/42 jackpot
MANILA, Philippines – Christmas came early for the lone bettor who won the Php 23.9 million jackpot prize on Saturday night's draw (December 19, 2020) of the Lotto 6/42, the Philippine Charity Sweepstakes Office (PCSO) said.
The lucky bettor from Rodriguez, Rizal guessed the winning combination 11-34-06-42-15-33.
SEE ALSO: PCSO Lotto Result December 19, 2020 6/42, 6/55, EZ2, Swertres
To claim the check, he/she must go to PCSO's main office in Mandaluyong City and present the winning ticket and two ID cards.
The selling agent will get a prize commission of 1 percent of the jackpot prize without exceeding PHP1 million.
As provided in the TRAIN law, lotto winnings of more than PHP10,000 shall be subject to a 20-percent final tax. Once the jackpot is claimed by the winner, it would be less 20 percent.
Meanwhile, twenty-nine bettors guessed five correct numbers and will each receive P24,000.
The 6/42 Regular Lotto is drawn every Tuesday, Thursday and Saturday.
Early this month, a bettor from Angeles City, Pampanga won Php 9.4 M Lotto 6/42 jackpot.
Last month, a market vendor from Guiuan, Eastern Samar took home the Php 20.4 milion jackpot in the national lottery. In October, a bettor from Ormoc City, Leyte bagged the Php 48.7 million jackpot prize.
List of recent lotto jackpot winners
Lotto Game
Draw Date
Jackpot Prize (Php)
Mega Lotto 6/45 December 14, 2020 Marilao, Bulacan 166.5 million
Super Lotto 6/49 December 6, 2020 City of Manila 265.4 million
Lotto 6/42 December 1, 2020 Angeles City, Pampanga 9.4 million
Lotto 6/42 November 21, 2020 Guiuan, Eastern Samar 20.4 million
Grand Lotto 6/55 October 31, 2020 Talisay City, Cebu 35.5 million
Lotto 6/42 October 31, 2020 Ormoc City, Leyte 48.7 million
Grand Lotto 6/55 September 23, 2020 Valenzuela City 128.4 million
Lotto 6/42 September 15, 2020 Lian, Batangas 8.6 million
Mega Lotto 6/45 September 7, 2020 Marikina City 24.0 million
Ultra Lotto 6/58 September 6, 2020 Quezon City 339.2 million
Lotto 6/42 September 3, 2020 San Fernando, La Union 49.7 million
PCSO general manager Royina Garma urged the public to patronize PCSO games to generate more funds to be used to assist Filipinos.
The PCSO serves as the principal government agency for raising and providing funds for health programs, medical assistance and services, and charities of national character.
One of its key programs is the Medical Access Program (MAP), which is designed to augment the medical needs of Filipinos nationwide, particularly hospital confinement, chemotherapy, dialysis, and post-transplant medicines.
The program is funded by revenues from PCSO games nationwide.
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Aidan Gallagher is an actor, singer-musician and environmental activist starring as fan favorite character Number Five in Netflix's highly rated series The Umbrella Academy.
With rave reviews and 53.3 million average demand impressions in its first month of airing (Parrot Analytics, 3/16/19) the show was the top performer for Netflix in the first quarter of 2019. Gallagher will return to reprise his role in the highly anticipated Season 2 which starts production in 2019.
Gallagher was also twice nominated (2016, 2017) Favorite Male Tv Star, Kids Choice Awards for his starring role as "Nicky" on Nickelodeon's Emmy-winning comedy hit "Nicky, Ricky, Dicky and Dawn".
Learn more about Gallagher's acting career here: https://www.imdb.com/name/nm6200897/
An active social media influencer with over 3 million following and an average 36 million impressions per week, Gallagher's goal is to use his celebrity status to help save the world's oceans and species by raising awareness of critical environmental issues. In 2018, The United Nations Environment Program designated Gallagher as a UN Goodwill Ambassador for N. America.
A singer-songwriter, Gallagher plays the piano, guitar, sings and writes his own original lyrics and compositions. He enjoys playing live performances and is currently in the studio producing his upcoming EP.
"Aidan isn't currently signed to any label but we imagine that it's only a matter of time." —PopBuzz
MORE SONGS COMING! I'm in the studio! Watch for "I Love You", "In The Blue", "Let's Get Lost" and others!
© 2019 Aidan Gallagher. All Rights Reserved.


While gender equality is increasingly being taken into account within in a variety of sectors in modern society, it has been suggested that less emphasis is being made in respect to its importance within transport. As population levels grow and climate change consequences continue to amplify, sustainable transport systems are increasingly crucial for contemporary life and development. It is of critical importance that gender equality is integrated into these advancements. However, the World Bank noted in 2006 that transport infrastructures have traditionally been oriented towards the male gender, "with little attention appearing to have been paid to women's needs in transport". Consequently, this has led to the creation of transport systems which do not consistently cater for the needs of female residents.
As discussed by several of the 20th century's most prominent feminist scholars (including Caroline Moser, Susan Fainstein, and Jane Jacobs), our societies have been continuously gendered in that women and men navigate contemporary life in vastly different ways. Principally, this is due to the requirements of capitalism and can be closely linked to the Fordist era. To accommodate the traditional working man, who has classically had more access to a car than women, capitalistic ideals shaped transport systems to be constructed for men, by men. Road networks designed throughout Fordist times principally provided infrastructure to travel directly from suburb to central areas. Primarily, these networks catered to cars, although public transit also existed to a much lesser degree. However, such transit was generally limited to business hours only. Thus, there was less provision for those who required short, intermittent or across town journeys, to access schools, family, shopping districts, religious institutions and so on. Consequently, such transport networks often remained unsuitable for women, many of whom undertook multiple roles and required more sporadic and intermittent journeys without access to a car.
I recently carried out a year-long research study, which effectively sought to discover if gender inequality in transport was still a relevant issue for modern society. I focused the study on two western European cities: Amsterdam and Belfast. Despite recent sustainable movements, the focal mode of transport within Belfast remains the car. Amsterdam, on the other hand, presents a much more environmentally friendly transport system. Affectionately known as the world's most bike friendly city, Amsterdam continually pushes for sustainable transport, both public and private, throughout the city. While there has been significant research carried out in the general field of gender equality within Northern Ireland, less research has taken place within the field of transport. Similarly, in Amsterdam, the key focus of research concerning transport has been in regards to sustainability. As such, the study attempted to delve into a lesser researched area of contemporary city life.
Each case study offered an extremely diverse approach to transport. While one city focused on continuously enhancing sustainable means, the other appeared inherently doomed with an over dependence upon the car. As such, once I gained a solid understanding of each city's transport network, I posed the following hypothesis: Does a transport system containing an extensive emphasis upon sustainable transit contain greater gender equality?
Subsequently, it became clear that the Amsterdam's transport system is remarkably aware of female travel needs and there is no indication of a bias towards the male gender. A content analysis of the city's transport policies revealed no direct or indirect links to gender inequality or aspects of favouring to build networks to benefit the working male. Instead, there were consistent references to ideas of gender equality and awareness of the varying transport behaviours of city residents. The importance Amsterdam's Department of Urban Planning placed upon creating "custom environments for all city residents" highlighted this.
In contrast to historical suggestions about gender inequality in transport, Amsterdam places emphasis upon a transport system which links all areas of the city. As such, central and suburban regions have an array of public transit to utilize, ensuring across town travel is possible in almost all districts. It became clear that two focal reasons had led to high levels of gender equality integrated into Amsterdam's transport system. Firstly, a high level of financial importance placed upon continuously improving transport throughout the city; and secondly, a high level of female representation at the decision making level of the transport, planning and political sectors.
In regards to Belfast, there appeared to be a clear lack of sustainability integrated into the city's transport system. This has been a long standing issue and has consequently led to several concerns regarding gender inequality and a lack of recognition for female transport needs. In particular, there is a clear dominance of the car throughout the city. In effect, public transit and cycling have become modes of secondary importance, both in terms of usage levels and in regards to funding.
This is an issue seen throughout the nation. While Amsterdam has been said to hold a cycling culture, it is clear that Northern Ireland contains a car culture. Upwards of 30% of journeys less than one mile are made by car and 85% of journeys from 2 to 5 miles are also made via the same mode. This would be inconceivable for many Amsterdammers, who would cycle nearly all short distance journeys. In line with historic assumptions, there remains a male dominance of drivers within Northern Ireland as well. As of 2013, 83% of males over 17 years of age had a full driving licence; in comparison 71% of females. When it comes to cycling in Belfast, only 6% of daily journeys are made via bicycle. There is approximately a 2:1 ratio of male-to-female cyclists, with 66% of those being male and only 34% being female.
It was also interesting to note that there is a significant male dominance in regards to employment within the transport, planning, and political sectors, something that was not found in Amsterdam. Consequently, there is a considerable under representation of female transport needs at the decision-making level. Similarly, the city's transport legislation appeared to advocate the continued enhancement of road networks and parking throughout out Belfast, ensuring that the car will remain as a dominant mode of travel. While results from two neighbourhood surveys carried out highlighted female feelings of confinement in regards to mobility, due to expensive and inefficient public transit, aligned with their lack of access to a car. Sustainable methods are improving, however, and the introduction of the rentable Belfast Bikes system in 2015 is certainly a step in the right direction. The challenge is to make cycling into an everyday form of transport within the city, which all residents can feel safe and comfortable to use.
It appears clear that, in the cases of Amsterdam and Belfast, a transport system containing an extensive emphasis upon sustainable transit does contain greater gender equality. Unless an efficient and affordable public transit system is put in place, aligned with a competent bicycle network, many citizens (particularly females) will continue to be constrained in regards to their mobility. The feedback that I received from female members of the public, particularly in Belfast, emphasised this point. Gender equality must be recognised as an important issue within transport planning. I would suggest that the aforementioned hypothesis is posed upon other transport systems, to examine how generalisable it is. I would hope to carry out further research within this field, so may well develop this study and hypothesis in time.
By moving towards a more sustainable system, females will have considerably enhanced opportunities for travel. As I was informed by Andrew Grieve, the head of Northern Ireland's Department for Regional Development's Cycling Unit, "it may be counter-intuitive, but it's not rocket science. If you design a city for cars, it fails for everyone, including drivers. If you design a multi-modal city, it works better for everyone, including drivers." Evidently this movement will be a slow and contentious venture in Belfast, but it is of critical importance. Amsterdam particularly highlights the benefits of providing a comprehensive cycling network and it is interesting to note the benefits it can present for females.


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Maurice Delage est un compositeur français, né le  à Paris  et mort le  à Paris .

Disciple et ami de Maurice Ravel dès les années 1900, c'est en entendant le Pelléas et Mélisande de Claude Debussy que lui serait venue sa vocation. Adolescent, il étudia le violoncelle. Autodidacte, il appartint au groupe des Apaches.

Son œuvre, peu abondante, est marquée par le souvenir de séjours qu'il fit en Extrême-Orient, principalement en Inde et au Japon, en 1912-1913. L'extrême concision de ses mélodies, la richesse des lignes de chant et les rythmes singuliers qu'il sait imposer sont caractéristiques de son style exigeant, à la fois "classique" et "exotique".

Ses pièces les plus célèbres sont les Quatre poèmes hindous pour chant et orchestre de chambre, créés en 1914.

Hommages
Maurice Ravel lui dédia la cinquième pièce de ses Miroirs pour piano (La Vallée des cloches), en 1905, et Igor Stravinsky la première mélodie, Akahito, de ses Trois poésies de la lyrique japonaise en 1914.

Catalogue des œuvres

Poèmes symphoniques

 Conté par la mer (1908)
 Les Bâtisseurs de ponts (1913) d'après Kipling
 Ouverture pour le Ballet de l'avenir (1923)
 Contrerimes (1931), orchestration des pièces pour piano
 Bateau ivre (1954) d'après le poème Le Bateau ivre de Rimbaud
 Cinq danses symphoniques (1958)

Musique de chambre

 Quatuor à cordes (1949)
 Suite française pour quatuor d'archets (1958)

Mélodies (chant et piano)

 Trois mélodies (1909)
 Ragamalika, « chant tamoul » (1914)
 Trois poèmes (1922)
 Ronsard à sa muse (1924)
 Les Colombes (1924)
 La Chanson de ma mie (1924)
 Les Demoiselles d'Avignon (1924)
 Sobre las Olas (1924) sur un poème de Jean Cocteau
 Toute allégresse (1925) sur un poème de Paul-Jean Toulet

Mélodies (chant et ensemble instrumental)

  Quatre poèmes hindous (1912)
  Sept haï-kaïs (1925)
 Deux fables de La Fontaine (1931), Le Corbeau et le Renard, et La Cigale et la Fourmi
 Trois chants de la jungle (1934) d'après Kipling
 In morte di un samouraï (1950)
 Trois poèmes désenchantés (1955)

Musique pour piano seul

 Schumann... (1918)
 Contrerimes (1927)

Bibliographie

Ouvrages généraux

Monographie

Correspondance

Bases de données

Compositeur français de musique classique de la période moderne
Naissance dans le 6e arrondissement de Paris
Naissance en novembre 1879
Décès en septembre 1961
Décès à 81 ans

redpajama_set_name: RedPajamaWikipedia


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Flight attendant reveals what to wear for an upgrade
A flight attendant has dishes some airline secrets.
by Thea Jacobs
A FLIGHT attendant has revealed how to get a coveted first class upgrade when you arrive at the airport - it's all about what you're wearing.
Cabin crew members have revealed that looking the part when you walk up to the check-in desk doesn't always mean designer clothes as simply looking smart can boost your chances of an upgrade.
Flight attendants opened up to Who What Wear to educate travellers on the outfits that give you the best chance of being bumped up a class - which can be teamed up with other tips to get an upgrade.
The main advice is that looking the part when flying moves you up the upgrade list just as much as asking nicely.
One attendant said: "It definitely helps your chances. When we fly, we have a strict dress code to follow.
"No jeans or trainers - so I always go for tight black trousers and a blazer or a dress. For men, chinos or trousers and a shirt are worn."
What should you wear if you want to try to get an upgrade?
However, you don't need to break the bank and splash out on designer brands as another flight revealed the key to secure an upgrade was making it look like you hadn't tried too hard.
They said: "For an upgrade, it's all about looking the part. Smart but understated.
"You should look like you travel often. But don't be dripping in designer clothing.
"It helps; someone who is potentially due to get an upgrade can be knocked back if they aren't dressed suitably."
Well, you should ditch the jeans.
If you're travelling long haul, a smart dress or jacket doesn't always make for the comfiest outfit, but you can always pack a comfortable outfit in your hand luggage to switch into on the flight.
It's also worth bearing in mind there are drinking limits when flying to make sure a first class upgrade isn't taken away from you at the last moment.
This story originally appeared on The Sun and was republished with permission.
10 airlines that are better than Qantas
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Woman's name gets her kicked off flight
airline first class flight attendant flying travel


text:
Q: Can you Sum() more than one value in a single linq statement...without grouping? Given class:
public class FooAmounts
int Id
decimal Month1
decimal Month2
...
decimal Month12
decimal Year2
decimal Year3
decimal Future

I have IEnumerable<FooAmounts> with 5 entries (Id's 1-5 funnily enough!)
I'd like to create a single new FooAmounts which has the totals of each month/year but only where Id==1 + Id==2
e.g.
var footle = (from f in foolist
where f.Id == 1 || f.Id == 2
select new FooAmounts{
Month1 = Sum(month 1s),
Month2 = Sum(month 2s),
etc etc.
Future = Sum(futures)
).FirstOrDefault();

I am trying to re-create this t-sql:
select SUM(Month1) as Month1, SUM(Month2) as Month2, SUM(Month3) as Month3 from FooAmount where Id=1 or Id=2"

I can acheive similar using a group by f.Id into grp clause but that leaves me with two items and therefore I can't use First/FoD, meaning I would have to manually Sum them still...which seems like I must be missing a trick somewhere?
Note: The FirstOrDefault() is only there so I get back a single object rather than an enumerable containing one object.  I think (perhaps wrongly!) that this should always return only one item anyway...there is only one result of a Sum(), regardless as to how many items went into the calculation.

A: Regardless of whether you have one value or many, it doesn't make sense to take the first result of a sum.
If I have 10 people, I can find the age of the first one, or I can find the sum of the ages of all of them - but I can't find the first sum of the ages. So you can do:
 var matches = fooList.Where(f => f.Id == 1 || f.Id == 2);

 var sum = new FooAmounts { Month1 = matches.Sum(f => f.Month1),
                            Month2 = matches.Sum(f => f>Month2),
                            ... };

Now that will execute the query multiple times, of course. You can materialize the query instead, and then do the summing over that:
 // Materialize the result so we only filter once
 var matches = fooList.Where(f => f.Id == 1 || f.Id == 2).ToList();

 var sum = new FooAmounts { Month1 = matches.Sum(f => f.Month1),
                            Month2 = matches.Sum(f => f>Month2),
                            ... };

Or alternatively you could use aggregation:
 var sum = fooList.Where(f => f.Id == 1 || f.Id == 2)
                  .Aggregate(new FooAmounts(), // Seed
                             (sum, item) => new FooAmounts {
                                 Month1 = sum.Month1 + item.Month1,
                                 Month2 = sum.Month2 + item.Month2,
                                 ...
                             });

This will only iterate over the sequence once, and not create a big buffer in memory, but will create a lot of FooAmounts instances as it iterates.
You could modify the accumulator in place, of course:
 var sum = fooList.Where(f => f.Id == 1 || f.Id == 2)
                  .Aggregate(new FooAmounts(), // Seed
                             (sum, item) => {
                                 sum.Month1 += item.Month1;
                                 sum.Month2 += item.Month2;
                                 ...
                                 return sum;
                             });

That's feels slightly nasty to me, but it doesn't really have side-effects in a bad way, as it's only mutating the object which is initialized within the call anyway.


text:
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Mission: Impossible – Ghost Protocol (2011)
A- SDG
Brad Bird's Mission: Impossible - Ghost Protocol is so preposterously entertaining that it makes watching other recent Hollywood action spectacles feel like work. What in the last few years even compares to it?
Continues below
Directed by Brad Bird. Tom Cruise, Jeremy Renner, Simon Pegg, Paula Patton, Michael Nyqvist. Paramount.
Artistic/Entertainment Value
Moral/Spiritual Value
Age Appropriateness
Teens & Up
Caveat Spectator
Much intense action violence, sometimes deadly; brief unclear reference to killings in a heroic character's past; some suggestive content including images of erotic art; a few instances of profanity and some crass language.
About These Ratings
The last Mission: Impossible installment, J. J. Abrams's M:I-III, had a few diverting set pieces punctuated by way too much grimness and suffering. Abrams's Star Trek was a lot more fun, more because of the bold, witty script and wonderful performances than much memorable action. Chris Nolan's Inception was visually and conceptually dazzling, and his Batman films are as good as comic-book movies get, but Nolan has yet to shoot a single action sequence as lucid and powerful as any of the string of authoritative set pieces that highlight Ghost Protocol.
Next to Ghost Protocol, most recent action flicks look either paltry (Iron Man, Salt), bloated (2012, Transformers: Revenge of the Fallen) or dreary (Robin Hood, Clash of the Titans). With the lone exception of the latest mega-blockbuster from one of Hollywood's canniest veteran filmmakers—James Cameron's Avatar—I can't think of another recent action spectacle that looks so good or that handles action so well.
Quite an achievement for a director whose CV for the last 12 years consists of three animated films—even if those films are The Iron Giant and the Oscar-winning Pixar films The Incredibles and Ratatouille—and who is now venturing into live action for the first time.
In a way, it might not have been surprising had Bird chosen to make a movie more like Avatar—that is, more like a computer-animated film, with lots of reliance on digital imagery. Instead, Bird has gone the other way, masterfully embracing old-fashioned practical effects, real-world stunts and clear, clean storytelling almost revolutionary in these days of hyperedited closeups and handheld cameras.
The press notes say that it was Tom Cruise's idea to shoot the riveting Burj Khalifa sequence in Dubai high on the face of the real Burj Khalifa, now the tallest building in the world, rather than working with sets and computer effects. I believe it. No director in the world could ask any star in the world to do what Cruise does in that sequence.
Of course digital post-production was used to erase the safety gear Cruise wore and so forth, but still and all it's really Cruise, really over 100 stories up in the air high over the United Arab Emirates desert landscape, making like Spider-Man on the glass face of a needle-like skyscraper in the punishing Middle Eastern sun and winds. Cruise deserves all the credit in the world for the commitment and hard work that went into the sequence—but Bird's achievement is making it breathtakingly suspenseful and immediate.
Plenty of directors can make even real stunt sequences look comparable to overprocessed fakery. Exhibit A: Brett Ratner's first two Rush Hour films. Come to think of it, Ratner's current film, Tower Heist, has a climactic scene with characters dangling from the face of a high-rise that made me think, while I was watching it, how much fun that scene ought to have been had it been shot by a director with any imagination or flair. Bird knows how to communicate the vertiginous thrill of a man stepping out into empty space thousands of feet above the ground. So few directors do these days.
At my IMAX screening, a friend pronounced the Burj Khalifa sequence the best Hollywood action scene in the last 25 years. I wouldn't go that far. Leaving out vehicular sequences like the Bourne car chases and effects-driven sequences like the Matrix lobby sequence and The Fellowship of the Ring's Mines of Moria, for real human stuntwork the top candidate that comes to mind is the opening parkour set piece in Casino Royale. Still, the Burj Khalifa is a standout—and it's only one of four or five terrific set pieces making Ghost Protocol a knockout, even if at times the action verges into overly cartoony exaggeration.
Is there anything more to Ghost Protocol than spectacle and style? Well, no, not really. That, some gorgeous globe-hopping backdrops (beautifully filmed by director of photography Robert Elswit) and the considerable star power of Cruise and his costers.
These include returning comic sidekick Simon Pegg (Scotty in Abrams' Star Trek) as tech agent Benji Dunn; Jeremy Renner (The Hurt Locker) as an enigmatic desk agent; Paula Patton (Déjà Vu, Jumping the Broom) replacing Maggie Q in the role of Kickboxing Female Agent who Gets out of a Snazzy Sportscar in a Slinky Dress at Some Fancy Soirée. The story gives these characters just enough personal history to have motivations and emotions that are important to them, if not to us, but that's enough to be serviceable.
Bird's animated films are so full of heart and ideas that one could reasonably have hoped for a transformational take on Mission: Impossible for his live-action debut. Instead, for the first time directing from a screenplay he neither wrote himself nor rewrote (as he rewrote Ratatouille after taking over the project from Jan Pinkava), Bird has taken the opportunity to flex his muscles—to showcase for the world, and possibly to discover for himself, what he can do in a new medium.
Other extraordinary sequences include a chase sequence in a sandstorm in which visibility drops to zero and a climactic hand-to-hand combat in a high-rise robotic parking garage with cars on hydraulic platforms moving up and down. I can't think of anything offhand comparable to either one.
One thing that makes these scenes special is the way Bird injects personality into them. An opening set piece, with Hunt breaking out of a Russian prison amid a prisoner riot, comes to a head in a silent exchange between Hunt and Benji Dunn in which neither party can hear the other, and Hunt can't even see Benji, but each knows exactly what the other is thinking.
In other sequences, the movie's most reliable gambit is for the Impossible Missions Force's high-tech gadgets—some of which are among the most inspired gadgets we've seen in a long time—to fail, forcing the agents to improvise. This isn't played for mere cleverness, but for how the characters respond, and it ratchets up the suspense to tightrope tension.
I also really like a few wincing moments when Hunt doesn't quite nail his landings, with potentially disastrous consequences. Fallibility and vulnerability make a hero more appealing, like Indiana Jones not quite making that first jump in the Peruvian temple, or landing hard on his backside when slugged by the burly German pilot. (By contrast, an opening stunt with an IMF agent landing a crazy backward jump off a roof onto an absurdly tiny airbag sets an unfortunate precedent that the movie doesn't shake off for awhile—and the rolling climactic sequence goes too far in allowing its heroes to shrug off ridiculous amounts of physical punishment.)
Ultimately, the movie's breezy confidence and lighthearted tone is a big part of its success. Like all the best moments in the Mission: Impossible films so far, Ghost Protocol is a romp, and it knows it. In my review of Mission: Impossible III I commented that "for the first time a Mission: Impossible movie has a level of emotional urgency. The downside is, having seen it, I'm not sure I want emotional urgency in a Mission: Impossible movie." Ghost Protocol has just about everything I want in a Mission: Impossible movie, and just about nothing that I don't.
Mission: Impossible – Ghost Protocol is available in a Blu-ray/DVD combo edition with substantial bonus features, including a package of making-of featurettes totalling nearly 100 minutes.
The highlight is the sequence on the Birj Khalifa set piece, which is actually more thrilling than the set piece itself, and certainly makes the set piece more interesting. This sequence shows not only how much time Cruise spent climbing and swinging 130 stories in the air in the punishing Middle Eastern sun and winds, but also how hard the filmmakers worked to get the access and camera angles they needed, what the safety precautions were, and so on.
There are also extras on the the parking garage finale — amazingly a set, not a real location — the sandstorm chase scene and the various gadgets and props used in the film. Brad Bird offers commentary throughout, and talks about the importance of the jumps that Ethan doesn't quite land, and how he looked to the very movie I cited in my review, Raiders of the Lost Ark, for inspiration on the vulnerable action hero. Bird also offers some nice commentary on a collection of (wisely) deleted scenes, though there's no commentary track for the film itself, alas.
Tags: Action, Mission: Impossible, Spy vs. Spy
Mission: Impossible – Ghost Protocol [video]
Here's my 30-second take on Mission: Impossible – Ghost Protocol.
Emanuel: Racial violence and Christian forgiveness
The secular apocalypse: Irreligion, pop culture, and the end of the world
Amazing Grace [video]
Dark Phoenix [video]
A Dog's Journey [video]
Pokémon Detective Pikachu [video]
Avengers: Infinity War (2018)
First Reformed (2018)
Ready Player One (2018)
Tully [video] (2018)
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nvQuickTheme is more than just a great minimalist DNN (DotNetNuke) theme. It is a powerful theme building framework and developer workflow.
Where npm set the groundwork for a package system, it falls short in many aspects. Yarn, the successor to Bower, helps manage packages with ease. Quick, secure, and reliable, Yarn is the front-runner for package management.
Gulp is what we use to automate the painful stuff. error checking, compressing, minifying, zipping, anything you hate doing over and over, there's probably a way to automate it using Gulp and it's plethora of plugins.
Forget about making sure you add the -webkit- prefix. This plugin automatically adds all the prefixes necessary for all the major browsers and versions.
Allows for easy deletion of files. We use it to get rid of temporary files created when building packages.
Allows for simple minification of CSS.
Nicely compresses images as small as possible while maintaining quality. We don't use this in our main tasks, but is still available because we believe it is a necessary tool for a lot of theme creation.
Helps show messages in the node command line console.
Replaces string values within files. Not currently used, but will possibly be used in future releases of nvQuickTheme.
This powerful plugin error checks, concatenates, and minifies scss. We use it for all the things.
Just like it sounds, this zips files. This is used in our theme packaging task to help create the resource files for DNN.
nvQuickTheme is maintained by nvisionative.


Straight out of China, the world's factory and from The South China Morning Post, Henry Chan head of research at Caitong International Securities has written what most likely looks like the outcome for 2018.
Like Jeffrey Gundlach, Chan see's higher commodity prices such as gold and oil. Stagflation is on deck!
Excerpt: A decade of reckless money printing and loan growth, which fuelled unsustainably high debt in all major economies, will finally meet its antidote: higher inflation.


text:
8:03 am by Sharon Butler
Stanley Fisher, Untitled (Help), 1959-64, oil and collage on canvas, March Gallery. Boris Lurie Art Foundation, New York.
At artist-run galleries, the conversation centers on art rather than commerce. Alternative spaces provide a place for unknown and under-recognized artists to mount exhibitions, for curators to organize their first thematic shows, and for established artists to present experimental projects that their commercial galleries aren't interested in showing. "Inventing Downtown," an ambitious and densely hung group show at the NYU Grey Art Gallery, is full of outstanding work from the artist-run gallery scene in 1950s and 1960s New York City. Some of the artists who showed at the galleries, such as Robert Morris, Alex Katz, and Louise Bourgeois, went on the have big careers, and others, whose work was vital to the conversation at the time, are virtually unknown today.
Ronald Bladen, Green and Black, 1961-62, Masonite, wood, oil, steel. Green Gallery. Collection of Linda and James Clark.
The show features fourteen galleries that embraced a wide range of programming, from abstract painting and sculpture to performance and video. The exhibition is organized into five thematic groupings. According to the press release:
"Leaving Midtown" focuses on three Tenth Street galleries which adopted a cooperative business structure where expenses were shared among elected members: Tanager Gallery, Hansa Gallery, and Brata Gallery.
"City as Muse" features four ventures that did not adopt the co-op model: City Gallery, Reuben Gallery, Delancey Street Museum, and Judson Gallery. They are best known for creating dynamic installations and pioneering performances.
"Space and Time" investigates two significant artist-run projects, 112 Chambers Street and 79 Park Place, which occupied different conceptual terrains, embraced a wide range of media, and shared an interest in exploring temporality and geo-spatial dimensions.
"Politics as Practice" includes four groups: March Group, Judson Church's Hall of Issues, The Center, and Spiral Group, which examined the viability of politics as a subject for art and channeled a new sense of social urgency in addressing Cold War politics, the civil rights movement, and the legacy of World War II, among other concerns.
"Defining Downtown" looks at the Green Gallery, which played a decisive role in bringing downtown uptown and fostering the rise of Pop and Minimalism. Its program, however, resulted in the narrowing of aesthetic possibilities and the marginalization of many artists.
Nicholas Krushenick, Untitled, 1961, oil and acrylic on paper collage. Judson Gallery. Courtesy of Garth Greenan Gallery.
Jim Dine, Untitled, 1960, oil on fabric and Masonite. Reuben Gallery. Collection of Martha Nilsson Edelheit, Stockholm.
Tom Wesselmann, Portrait Collage #13, 1959, mixed media collage on board. Judson Gallery. Collection of Claire Wesselmann.
Lucas Samaras, Untitled, 1958-59, oil on canvas. Reuben Gallery. Courtesy of the artist and Pace Gallery.
Renée E. Rubin, Coney Island Pinball, 1958, aluminum and oil on canvas and wood. Reuben Gallery.
Romare Bearden, 1964, Gelatin silver print on fiberboard. Spiral Gallery. Courtesy of Michael Rosenfeld Gallery, New York.
Peter Forakis, three paintings c. 1961- 1962, acrylic on canvas and wood. Park Place Gallery. Courtesy of Spacetime C.C., New York.
Every artist's career has its own own trajectory, and this show proves that building and sustaining a creative life isn't easy. Imagine a show, curated in 50 years by a curious young academic, that includes work by artists who are working in neighborhoods like Bushwick today. This show is a reminder that many will ultimately leave the city. They may lose their studios to gentrification, realize that rents are too high, miss their hometowns, get academic jobs far away, or, for whatever reason, decide that life is just too damn hard in New York. Now, however, social media makes it possible to stay connected–leaving the city no longer means quitting the art community.
"Inventing Downtown" has a lot of surprising work. In his fine NYTimes review, Holland Cotter writes that the show is "a view of typical — rather than outstanding — art, of familiar artists looking unfamiliar, and of strangers you're glad to meet." Don't miss it.
"Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965," curated by Melissa Rachleff. Grey Art Gallery, NUY, Greenwich Village, New York, NY. Through April 1, 2017
Pop abstraction: Nicholas Krushenick at the Tang
Author Sharon ButlerPosted on January 31, 2017 January 31, 2017
7 thoughts on "History: Artist-run galleries in NYC in the 1950s and 1960s"
Florence suerig says:
Very interesting discussion of this exhibition. I intend to see it. Thank you
T. Michael Stephens says:
Please post Linkedin 'comment' to this 'post'.
Sharon Butler says:
T. Michael Stephens writes on LinkedIN: Your "History: Artist-run galleries in NYC" just misses (1966-'72) one of most important: The ANONIMA Studio GALLERY 20 W 40th (top floor) of ANONIMA Group painters Ernst Benkert, Frank (also Karen) Hewitt and Ed Mieczkowski sponsored not only the Group's Shows but also Forums/Symposia with Ad Rhienhardt, Donald Judd, Rudolph Arnheim, et al.. and Guest Shows/Presentations of Art Research Center Group, Joseph Kosuth, et al.. always with notable historic visitors/admirers Andreas & Eva Wieninger, Johannes Beckmann (all Bauhausers), Sybil Moholy-Nagy, et al… ANONIMA became important from RESPONSIVE EYE forward; influencing another generation, or 2, with Painting Program of Abstract/Geometric "Re-Education of Vision" which continues to shine in new Museums/Collections like MACBA/Buenos Aires ; and, recent works by Benkert and "Constructivist Grit" paintings, constructs of Edwin Mieczkowski.
Nick Thabit says:
Thanks for these magnificient images! Not on the NYU Grey website.
barbara kerstetter says:
Tough work; an inspiration for our times. Artists aren't alone in being distracted by the new administration of child brats; we are being hijacked by thieves and incompetents . I suggest putting aside a certain amount of time for drawing cartoons of allegorical or mythical personas, enabling us to vent our anger rather than wading through hours of social media…..
Margie Lindley says:
I have a water color painting by Guild. On the back it has a number and new York gallery. It was given to me by my great aunt, who got it around 1950. Need help.
Looking for info on a Livingston Galleries on 832 Lexington Avenue between 63rd and 64th Streets. Any help would be appreciated.
Previous Previous post: Ken Weathersby: From sculpture to painting
Next Next post: Quick study


Dr. Shah moved to the United States of America in 1965. He was a Hindu and was always searching for God.He attended Christian Seminars, Churches, Yoga, Ashram, studied Gita, Upinishad, Ramayan, Mahabharat. Dr. Shah was filled with the Holy Spirit and then began a study of the Bible and found that it was true, he did not see any reason to turn back. He accepted Jesus Christ as his Lord and Savior, got baptized and has been a Christian ever since. Dr. Shah is the author of "My Christian Journey" and "How to Live a Victorious Christian Life" (will be available soon).


With flu and cold season around the corner, it's never too early to get thinking about eradication of germs. One of the most obvious ways to do this is by increasing hand washing, especially in hospitals and other healthcare facilities. But have you thought about your hand drying? This could impact your germ control immensely—that is, if you're using the right dryer. Introducing the Cold Plasma Clean (CPC), the latest in the Extreme Air family for American Dryer, the first hand dryer that works to break down germs as it dries.
Cold plasma use for germ killing isn't exactly a brand new idea. Over the past several years, increasing numbers of hospitals have been using it to maintain a hygienic environment. Thanks to American Dryer's innovation, this practice is now available in a compact, highly efficient hand dryer. The science behind the Cold Plasma Clean technology is relatively simple. The CPC dryer houses a generator which charges air that passes through, forming the plasma. The negatively charged plasma seeks to become neutral, attracting H+ ions and pulling them out of germs it contacts. Without its H+, the germs break down and are rendered harmless. Meanwhile, the OH- of the plasma joins with the H+ to form H2O, pure water vapor. In this way, the CPC dryer is able to help eradicate germs, all without harmful chemicals added or produced.
So what exactly IS plasma? Plasma is the fourth state of matter (solid liquid, gas, and plasma), essentially an 'electrically charged gas'. Plasma is a safe medium, occurring naturally on Earth in several forms, lightning being one example. Despite the name, cold plasma isn't cold, it's simply colder than it occurs in nature making it safe to touch. In fact, the plasma in the CPC dryer is approximately room temperature, much like a traditional hand dryer. The CPC dryer does exceptional work, even beyond the immediate user. As it runs, the CPC dryer can actually help purify the air, as well as eliminate several odors.
While the CPC technology is the stand out feature of this dryer, it is by no means the only benefit. This Extreme Air dryer is energy efficient, cost saving, tamper resistant—all around a great dryer (for a full overview of the CPC dryer, see here). American Dryer has been making exceptional products since 1952, and we look forward to many new products.
Interested in going further to destroy germs in your hospital, nursing home, healthcare facility, or school? Contact Patient Safety USA today to get started.


text:
Edward Avery Bumpus
(June 24, 1875 — September 28, 1901). Lieutenant in the U.S. Army from Massachusetts. Killed in action in the Philippines.
May 10, 1899 150 miles from Manila.
The diary, or anything else an unhappy reader may name it, has been sadly neglected lately. We are so close to Manila that it is hot, and almost too uncomfortable to write. I would be very uncomfortable, but the third officer has very kindly lent me the use of his stateroom and an electric fan, which makes life worth living. From where I am sitting I can see the engine room cover and hear the continuous click, thump, and clatter of the engines. These engines have broken four times since we started and made the time much longer on the water. The weather has been glorious and the eastern sunsets are indescribable. Last night we sighted the Philippines about five o'clock and passed through a channel between Luzon and a smaller island (there are twelve hundred of them in the group and most of them are inhabited). The sun set behind some of the islands, and it seemed as though the paint pot of the gods had been upset. We were in sight of land this morning and are coasting along to Manila perhaps two hundred miles away.
The band plays every morning for an hour or two and then in the evening it always comes out — weather permitting —to play "The Star-Spangled Banner," "Just as the Sun went Down," etc. The effect of the band and the sun was very artistic, but I felt too lazy to write any poetry. I guess it did me no harm to feel it.
To-day, another Wednesday, and just a month from Plattsburg, N.Y., is rather warm. The water is smooth and 87° in temperature. By the feeling I should imagine that the sun was 90°. We passed a large steamer bound for Japan this morning. She did not stop, but the ship's captain said she was a troopship on her way back to the United States. We are going into Manila Bay to-morrow morning
and will be landed very shortly. I am going on guard to-morrow, and so I will not get a chance to work off my small stock of Spanish on any fair señoritas.
PrevPreviousMay 10th-99
NextWednesday, May 10th, 1899Next
Edward Avery Bumpus, Luzon, Manila, U.S.S. Hancock


text:
News PC PS4 Xbox One
Does Epic Games Pay Ninja to Play Fortnite?
On Dec 29, 2018, by Talha Amjad
Ninja is one of the most popular streamers that play Fortnite. So popular that he even landed in this year's YouTube rewind video, which turned out to be one of the most disliked videos on the platform. Ninja did a short segment for Wired, where he answered some of the most searched questions on the internet that are about him.
There was no surprise that people were searching for answers to whether or not Ninja was paid to play Fortnite Battle Royale. He was a bit hesitant about answering but then he organized his thoughts and said the following about the matter:
I have to really think about this, because I don't want to misspeak. I don't think I've been paid by them to do anything, ever. Other than what they've done for everyone like the Support-A-Creator code, and they didn't pay me for that. So no, Fortnite has not paid me.
If you missed the video then you can check it out below:
Ninja also mentioned some interesting information about him. He mentioned that he was married and that while he has played games on consoles such as PlayStation and Xbox he is currently gaming on a PC. He also mentioned that he bought the Battle Pass for Fortnite and earned the XP for the different tiers. Keeping in mind that Ninja is a major Fortnite player and that he streams the game for more than 10 hours a day, it would not be surprising that he is able to max out tiers in no time at all.
Talking about his rig, not only did he mention that he used a gaming PC to play Fortnite he also mentioned that he used an internal capture card in order to stream videos online.
Let us know what you think about Ninja and whether or not you think he is being paid by Epic Games to play Fortnite.
Epic Games Fortnite Ninja
Who Is Suing Epic Games for Fornite Dance Emotes – and Why?
Fortnite is the Best Game I Have Never Played
Prince Harry Claims Fortnite is More Addictive Than Drugs


DPA's d:screet™ SMK4060 is a stereo miniature mic kit combining two DPA d:screet SC4060 Omnidirectional Mic Capsules with a host of accessories including surface mounts, boundary layer mounts, clips and magnet mounts, making the SMK4060 a very powerful stereo recording kit.
The DPA d:screet™ SMK4060 Stereo Mic Kit uses DPA's 4060 pressure gradient omnidirectional mic capsules, offering incredibly flat frequency response and clarity to your stereo recordings. The host of accessories included make this kit highly adaptable, perfect for studio or stage recording, even binaural applications with a bit of ingenuity.
The included BLM6000 Boundary Layer Mounts are very useful for stereo recordings with the SMK4060, allowing positioning of the mic on a reflective boundary such as a floor, wall, ceiling, piano lid etc, enabling them to best capture the ambient sound of the area. The sound captured from this "pressure zone" has more detail, clarity and intelligibility when compared with sound captured from the "free air".
The d:screet™ SMK4060 stereo mic kit is also available as the SMK4061 – with 4061 mic capsules, offering 9dB less sensitivity than the 4060 high sens version.
Be the first to review "DPA d:screet™ SMK4060 Stereo Mic Kit" Click here to cancel reply.


€147.90+ Intel i5-6400 General-Purpose Rig.
A lot of features on this micro board. 3 case fan headers. 2 usb 3.0 headers. M.2, plenty of usb's on back and black with gold trim is a classy look. Back plate is just plain silver metal. Would be nice to have it black and labeled better but no big thing.
The motherboard is a pretty good motherboard for its price. I am giving this a 4 star because of mainly Amazon shipping and because the Motherboard didn't have a PCIe port. I do love this motherboard as it gave me 6 USB 3.0 Ports and 2 USB 2.0 ports. It has alot of outlets for speaker audio and other things that you could add to make your computer better. I really like this motherboard and would recommend buying this motherboard if on a budget build and looking for a pretty good motherboard.
It truly is Ultra Durable! I dropped a screwdriver on mine and it didn't affect anything!
The orange LED is very obvious. It functions well, but if you're concerned about aesthetics, look elsewhere.
So far no problem with the 6700. Have all things I would ever need.


text:
"""
Forms and validation code for user registration.

Note that all of these forms assume Django's bundle default ``User``
model; since it's not possible for a form to anticipate in advance the
needs of custom user models, you will need to write your own forms if
you're using a custom model.

"""

from django.conf import settings
from django.contrib.auth import get_user_model
from django import forms
from django.utils.translation import ugettext_lazy as _
from django.template.loader import render_to_string
from django.core.exceptions import ValidationError
from .fields import HTMLField

User = get_user_model()

USER_MODEL_FIELD_NAMES = [field.name for field in User._meta.fields]
USER_REQUIRED_FIELDS = set([User.USERNAME_FIELD] + list(User.REQUIRED_FIELDS))

USER_FORM_FIELDS = getattr(settings, 'USER_FORM_FIELDS', USER_REQUIRED_FIELDS)
USER_FORM_UNIQUE_FIELDS = getattr(settings, 'USER_FORM_UNIQUE_FIELDS', [])
USER_FORM_REQUIRED_FIELDS = getattr(settings, 'USER_FORM_REQUIRED_FIELDS', USER_REQUIRED_FIELDS)
REGISTRATION_TOS = getattr(settings, 'REGISTRATION_TOS', None)

required_attrs = {'class': 'required', 'required': 'required'}

class RegistrationFormFromUserModel(object):
    """
    Create form from django user model
    """
    def __init__(self, *args, **kwargs):
        super(RegistrationFormFromUserModel, self).__init__(*args, **kwargs)
        # add new fields befor exsist sields
        insert_index = 0
        insert_tos = None
        for field in USER_FORM_FIELDS:

            if REGISTRATION_TOS and REGISTRATION_TOS['field'] == field:
                insert_tos = int(insert_index)

            formfield = User._meta.get_field(field).formfield()
            if field in USER_FORM_REQUIRED_FIELDS:
                formfield.required = True
                formfield.widget.attrs['required'] = 'required'
                formfield.widget.attrs['class'] = 'required'

            self.fields.insert(insert_index, field, formfield)
            insert_index += 1

        # Terms of service
        if insert_tos:
            template = REGISTRATION_TOS['template']
            tos_field = HTMLField(html=render_to_string(template))
            self.fields.insert(insert_tos, '', tos_field)

class RegistrationForm(RegistrationFormFromUserModel, forms.Form):
    """
    Form for registering a new user account.

    Validates that the requested username is not already in use, and
    requires the password to be entered twice to catch typos.

    Subclasses should feel free to add any additional validation they
    need, but should avoid defining a ``save()`` method -- the actual
    saving of collected user data is delegated to the active
    registration backend.

    """
    required_css_class = 'required'

    password1 = forms.CharField(
        widget=forms.PasswordInput(attrs=required_attrs, render_value=True),
        label=_("Password")
    )
    password2 = forms.CharField(
        widget=forms.PasswordInput(attrs=required_attrs, render_value=True),
        label=_("Password (again)")
    )

    def clean(self):
        """
        Verifiy that the values entered into the two password fields
        match. Note that an error here will end up in
        ``non_field_errors()`` because it doesn't apply to a single
        field.

        """
        if 'password1' in self.cleaned_data and 'password2' in self.cleaned_data:
            if self.cleaned_data['password1'] != self.cleaned_data['password2']:
                raise forms.ValidationError(_("The two password fields didn't match."))

        # validate if the USERNAME_FIELD does not already exists
        username_field = User.USERNAME_FIELD

        if username_field in self.cleaned_data:
            lookup = {'{0}__iexact'.format(username_field): self.cleaned_data[username_field]}
            if User.objects.filter(**lookup).exists():
                raise forms.ValidationError(
                    _("This %s is already in use.") % username_field
                )

        if username_field != 'username' and 'username' in USER_MODEL_FIELD_NAMES:
            if 'username' in self.cleaned_data:
                # validate the username
                if User.objects.filter(username__iexact=self.cleaned_data['username']).exists():
                    raise forms.ValidationError(_("A user with that username already exists."))

        # validate every required field
        for field in USER_FORM_REQUIRED_FIELDS:
            verbose_name = getattr(User._meta.get_field(field), 'verbose_name', field)
            if not self.cleaned_data.get(field, None):
                raise forms.ValidationError(
                    _(u"You need to fill the %s field.") % verbose_name
                )

        # call validate method for every field
        for field in USER_FORM_FIELDS:
            value = self.cleaned_data.get(field, None)
            method = getattr(User, "validate_{}".format(field), None)
            if not method:
                continue
            try:
                method(value, field)
            except ValidationError:
                raise forms.ValidationError(
                    _(u"%s already exists") % field
                )

        for field in USER_FORM_UNIQUE_FIELDS:
            _cleaned = self.cleaned_data.get(field, None)
            if User.objects.filter(**{field: _cleaned}).exists():
                raise forms.ValidationError(
                    _(u"%s already exists") % field
                )

        return self.cleaned_data

class RegistrationFormTermsOfService(RegistrationForm):
    """
    Subclass of ``RegistrationForm`` which adds a required checkbox
    for agreeing to a site's Terms of Service.

    """
    tos = forms.BooleanField(widget=forms.CheckboxInput,
                             label=_(u'I have read and agree to the Terms of Service'),
                             error_messages={'required': _("You must agree to the terms to register")})

class RegistrationFormUniqueEmail(RegistrationForm):
    """
    Subclass of ``RegistrationForm`` which enforces uniqueness of
    email addresses.

    """
    def clean_email(self):
        """
        Validate that the supplied email address is unique for the
        site.

        """
        if User.objects.filter(email__iexact=self.cleaned_data['email']):
            raise forms.ValidationError(_("This email address is already in use. Please supply a different email address."))
        return self.cleaned_data['email']

class RegistrationFormNoFreeEmail(RegistrationForm):
    """
    Subclass of ``RegistrationForm`` which disallows registration with
    email addresses from popular free webmail services; moderately
    useful for preventing automated spam registrations.

    To change the list of banned domains, subclass this form and
    override the attribute ``bad_domains``.

    """

    bad_domains = getattr(
        settings,
        'REGISTRATION_BAD_DOMAINS',
        ['aim.com', 'aol.com', 'email.com', 'gmail.com',
         'googlemail.com', 'hotmail.com', 'hushmail.com',
         'msn.com', 'mail.ru', 'mailinator.com', 'live.com',
         'yahoo.com']
    )

    def clean_email(self):
        """
        Check the supplied email address against a list of known free
        webmail domains.

        """
        email_domain = self.cleaned_data['email'].split('@')[1]
        if email_domain in self.bad_domains:
            raise forms.ValidationError(_("Registration using free email addresses is prohibited. Please supply a different email address."))
        return self.cleaned_data['email']

redpajama_set_name: RedPajamaGithub


text:
Home Malaysia Travel News AirAsiaGo.com introduces Muslim-Friendly features
AirAsiaGo.com introduces Muslim-Friendly features
mytravellicious 1:21 AM Malaysia, Travel News
AirAsiaGo is one my favourite website to find a good deal for hotel and flight. I don't really remember when I started using it. If you are using it for a while, you will know how to get the advantage of the deal. It is really useful website and apps.
In conjunction to AirAsiaGo's 10th Anniversary Special, AirAsiaGo.com introduces a 'Muslim friendly' feature on the online portal. They set to deliver a better user experience, taking travellers on a more exciting journey, by providing convenient and affordable travel for all. It features a variety of hand-picked and recommended Muslim-recommended accommodations. The new feature will also offer Muslim friendly packages, which include both flights and hotels.
Congratulation to all AirAsiaGo 10th Year Anniversary Contest Winner
Ramadan Promotions and Mobile-Exclusive Deals
For the upcoming holy month of Ramadan, AirAsiaGo.com is offering exclusive deals on nationwide hotels where travellers can enjoy up to 45 percent on hotel and flight+hotel bookings, discount on hotel's in-house food and beverages, as well as free late check-out or early check-in options. The booking period for this promotion will take effect from 22 May 2017 to 11 June 2017 (travel period from 23 May 2017 until 31 July 2017).
Over the last decade, AirAsiaGo.com has become the epitome of affordable and convenient travel planning. In addition to the Ramadan travel deals, AirAsiaGo.com also unveiled their monthly mobile exclusive deals 'Mid-Month Madness', where users can enjoy an additional 10 percent discount on top of the daily mobile exclusive deals, which can go up to 75% off standalone hotel bookings via AirAsiaGo.com Mobile App.
"In recent years, we have seen a steady increase of international Muslim travellers. It was estimated that close to 121 million Muslims worldwide travelled in 2016 and is projected to grow to 156 million by 2020. We acknowledge that it may be quite challenging for Muslim travellers when they visit certain countries with a population that are not predominantly Muslim, such as China, Japan, Korea and Taiwan. Despite this, in 2016 alone, there were about 394,000 Malaysians travelling to Japan, an increase from 89,000 seven years ago.2 The introduction of this new feature, will provide more convenience for our Muslim travellers in planning their next vacation. With a single click on the tab, they will now have access to a list of Muslim-choice hotels which places their travel requirements as a priority. In the near future, we intend to keep expanding this feature and work closely with our hotel partners to make their vacation planning a hassle free one," said Darren Goh, General Manager of AirAsiaGo.com.
The promotional code can be retrieved from AirAsiaGo.com's official Facebook account, www.facebook.com/AirAsiaGo.com
AirAsiaGo.com mobile app is available for free download on both the App Store and Google Play. Visit http://www.AirAsiaGo.com.my/app or log on to for further information.
Wow... I am going to holiday with AirAsiaGo.com ... see you guys soon!
Head over to www.airasiago.com.my/ and plan your holiday now!!!
AirAsiaGo.com introduces Muslim-Friendly features Reviewed by mytravellicious on 1:21 AM Rating: 5
Malaysia Travel News
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Nom Nom Nom Food Adventure at Nu Sentral


John Morgan might be a good choice. His expository paper on Thurston's geometrization theorem for Haken manifolds was quite important, as well as his exposition with Tian of Perelman's proof of the geometrization conjecture. He also has expositions of works of Sullivan, Donaldson, and Seiberg-Witten, some of the most important developments in geometric topology.
In light of the last award, I think Richard Guy ought to be considered for his "Unsolved Problems in …" books.
What about John Baez and his column "This Week's Finds in Mathematical Physics"?
It is sort of obvious, but you should consider Gorenstein, Lyons and Solomon for the revision of the classifcation of finite simple groups.
If I had the time or ability to nominate Richard Guy, I would go with him! He is an incredible expositor of mathematics and has been tirelessly surviving the mathematical community for almost an entire century!
As someone who had to teach numerical analysis without being an expert in it, I found numerous reviews written by N. Trefethen to be very clear and very useful.
I think that Yau S-T is the best choice for his open problems in geometry.
This award is too important for all of us, Terence call for nominations.
I say Bill Nye the science guy!
Thurston could have been a good one. Maybe John Horton Conway for many contributions including writing books at all levels.
Actually I much respect people who develop Mathematic.
very nice, that award is not money onlt, but also nedal, will be interesting to see picture.
1995 winner, Rob Kirby, if I'm correct, he is from University of California, isn't he?


Cedar Class had a lovely afternoon reading and sharing their favourite poems.
Science week activity 'Matilda's floating feat'.
Visit in Cedar class by Mrs. McIver from the Wildlife trust.
Cedar Class are Euxton Explorers!


| 880m2 Block with Powered Workshop!
880m2 Block with Powered Workshop!
Very few houses enjoy such a privileged position, set on a 880m2 block, with all the creature comforts to get you started. A front formal lounge/theatre will provide great space for the adults to relax, while the open plan kitchen has a modern feel overlooking the large living and dining area. All the bedrooms have built in wardrobes and share the spacious bathroom. You will enjoy the extended paved patio area overlooking easy care bore reticulated gardens and lawn, this back yard offers plenty of space to throw the ball for your dog. The large powered workshop is approx. 9.3m x 6.3m, perfectly situated with drive through access from the front, work on your hobbies from home! Close to park and all amenities. Opportunity is knocking! Don't put off seeing this home or you'll pass up a rare buy!


text:
using System;
using System.Reflection;
using NUnit.Framework;

[SetUpFixture]
public class GlobalSetUp
{
    [OneTimeSetUp]
    public void Setup()
    {
        AssemblyLocation.CurrentDirectory = TestContext.CurrentContext.TestDirectory;
        AppDomain.CurrentDomain.AssemblyResolve += CurrentDomain_AssemblyResolve;
    }

    static Assembly CurrentDomain_AssemblyResolve(object sender, ResolveEventArgs args)
    {
        foreach (var assembly in AppDomain.CurrentDomain.GetAssemblies())
        {
            if (string.Equals(assembly.FullName, args.Name, StringComparison.OrdinalIgnoreCase))
            {
                return assembly;
            }
        }
        return null;
    }
}


text:
Q: how to manage kafka broker by systemd? I am trying to manager kafka broker by systemd. here is a unit-file:
[Unit]
Description=Kafka with broker id (%i)
After=network.target
After=zk.service

[Service]
Type=simple

SyslogIdentifier=kafka (%i)
WorkingDirectory=/opt/service/kafka_2.11-0.9.0.1
LimitNOFILE=16384:163840

ExecStart=/usr/bin/bash -c 'bin/kafka-server-start.sh /opt/service/units/kafka/%i.properties'
ExecStop=/usr/bin/bash -c 'bin/kafka-server-stop.sh /opt/service/units/kafka/%i.properties'

[Install]
WantedBy=multi-user.target

with that file, I can start kafka by command systemctl --user start kafka@0.service and systemctl --user start kafka@1.service.
But when I try to kill those daemons by systemctl --user stop kafka@0.service, all two daemons are stoped! so, why could not I kill just only one broker?

A: Something like this:
[Unit]
Description=Kafka with broker id (%i)
After=network.target
After=zk.service

[Service]
Type=forking

SyslogIdentifier=kafka (%i)
Restart=on-failure
LimitNOFILE=16384:163840

ExecStart=/opt/service/kafka_2.11-0.9.0.1/bin/kafka-server-start.sh -daemon /opt/service/units/kafka/%i.properties

[Install]
WantedBy=multi-user.target


How many parents have found themselves thinking: I can't believe I just said to my child the very thing my parents used to say to me! Am I just destined to repeat the mistakes of my parents? In Parenting from the Inside Out, child psychiatrist Daniel J. Siegel, M.D., and early childhood expert Mary Hartzell, M.Ed., explore the extent to which our childhood experiences actually do shape the way we parent. Drawing upon stunning new findings in neurobiology and attachment research, they explain how interpersonal relationships directly impact the development of the brain, and offer parents a step-by-step approach to forming a deeper understanding of their own life stories, which will help them raise compassionate and resilient children.
I was recently blessed with some "alone-time" in the car to listen to this book. I think I am grateful to have been able to listen to the book as opposed to reading it, because the audio version is read by the authors, and hearing their personal voices and stories added to the experience. Also, I found the content to be very academic and deep and might have been tempted to put down a "paper" book in favor of doing something easier, so it was good that I was "trapped in the car" with it. That said, I believe it is a very valuable book with fantastic insights into our actions and skills as parents.
The chapters take us on a journey, starting with how we remember our childhood interactions, and then delves deeper into how we perceive reality, feel, and communicate. Concrete examples are given as the authors help us understand these things as children and as parents. As the chapters continue, the focus shifts to how we attach and make sense of our lives and history. I think this portion was my favorite because it provided excellent information which is so helpful for those who are parenting children from hard places. The remaining chapters focus on how we function in relationships today, and how we can continue to improve our awareness and skills. Another valuable part of the book is a list of questions given at the end of each chapter as self-reflection "homework" that encourages us to really think through and implement what was learned.
Whether you are an adoptive parent or not, and whether you had a difficult childhood or not, this book is worth looking into. Just be prepared for the fact that it is pretty deep and filled with complicated concepts. If you are distractible like me, you might find it helpful to do the audio version, or perhaps as part of a group with accountability and discussion. Also, plan to take your time with it, because there is a lot of information to absorb, and if you rush through it, the full benefit may escape you.
Bottom line: This is a great book that will help you grow into a wiser and better parent, which is always a worthy endeavor! Good luck!
This article was written by Amber Lewis, a Licensed Professional Counselor with a master's degree in counseling psychology. Ambe is also a trained as a TBRI© practitioner. She currently serves as a Clinical Supervisor with America World Adoption and has over 12 years of experience in international adoption, including being an adoptive mother herself. She is especially interested in helping families and their children work through grief and identity issues as well as teaching parents skills in connecting with, correcting, and empowering their children.