The more curious we are about a topic, the easier it is to remember not only information about that topic, but also other unrelated information shown at the same time. A study published today in Neuron shows what happens inside our brains when our curiosity is sparked.
The participants were then placed in a magnetic resonance imaging (MRI) machine that measures brain activity, based on changes in blood flow when the brain is performing certain tasks.
The participants saw the trivia question again followed by the image of a person's face and were asked to make a specific decision about the person. Finally, they were shown the answer to the trivia question, in the dinosaur case "terrible lizard".
After the MRI scan the participants completed a surprise test on the answers to the trivia questions and also on their ability to recognise the faces shown during the scan.
The research revealed three key findings.
Firstly, when people are curious to learn the answer to a question they are better at learning that information – not only in the very short term but also after a 24 hour delay. Most surprising though was that participants had greater recall of the completely unrelated information – such as the face – shown at the same time.
It seems that in the curious mind, more information is taken in no matter the subject.
"This shows that when the brain is engaged more, by making a task relevant and interesting, people learn more," said Amy Reichelt, psychology research fellow at University of New South Wales.
Secondly, when curiosity is stimulated, the research found that there is increased activity in the hippocampus, the region of the brain associated with memory. And lastly, there is increased activity in the regions of the brain associated with reward when curiosity is stimulated.
Fiona Kumfor is a research officer at Neurosceience Research Australia and her work focuses on how emotional feelings you experience during an event determine whether that event is likely to be remembered.
She says that the work in this Cell study agrees with her findings and confirms that other motivational states, such as curiosity, also influence whether information is likely to be remembered.
"Importantly, this paper reveals that like emotion, curiosity does not only determine whether the information of interest will be remembered, but it may also influence memory for extraneous/incidental information present at the time," she said.
Behavioural neuroscientist Jee Hyun Kim, head of the Developmental Psychobiology Lab at Melbourne's Florey Institute of Neuroscience and Mental Health, said more could be done to see whether the different levels of curiosity and different motivations from person to person have an impact on memory and learning.
"It would be more informative to see […] whether individuals with low curiosity respond better to extrinsic motivation (reward value, reduced cost), whereas individuals with high [intrinsic] motivation (self-motivation or curiosity) are better left to their own devices," she said.
Dr Kumfor adds that research into extrinsic rewards on memory is an important research area.
"So providing additional external rewards, when an individual is already self-motivated is unlikely to have any extra benefit on memory.
Dr Reichelt said the implications of this new research lie in both medicine and education.
"Stimulating curiosity is really important across all ages, from schools, to the workplace and to elderly care," she said.
"In patients with neurological disorders such as Alzheimer's or dementia, carrying out engaging tasks can help people remember things that are important, and also encourage new learning.


Ohio is a Midwestern acknowledge in the good Lakes region of the united States. Of the fifty states, it is the 34th largest by area, the seventh most populous, and the tenth most densely populated. The state's capital and largest city is Columbus.
The let in takes its broadcast from the Ohio River, whose say in position originated from the Seneca word ohiyo', meaning "good river", "great river" or "large creek". Partitioned from the Northwest Territory, Ohio was the 17th acknowledge admitted to the union on March 1, 1803, and the first under the Northwest Ordinance. Ohio is historically known as the "Buckeye State" after its Ohio buckeye trees, and Ohioans are along with known as "Buckeyes".
Ohio rose from the wilderness of Ohio Country west of Appalachia in colonial grow old through the Northwest Indian Wars as part of the Northwest Territory in the into the future frontier, to become the first non-colonial free welcome admitted to the union, to an industrial powerhouse in the 20th century previously transmogrifying to a more information and facilitate based economy in the 21st.
The supervision of Ohio is composed of the government branch, led by the Governor; the legislative branch, which comprises the bicameral Ohio General Assembly; and the judicial branch, led by the divulge final Court. Ohio occupies 16 seats in the joined States home of Representatives. Ohio is known for its status as both a alternative acknowledge and a bellwether in national elections. Six Presidents of the joined States have been elected who had Ohio as their house state.
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Fast Times at Ridgemont High
35 Years Ago: 'Fast Times' TV Series Can't Live Up to the Movie
Show based on 1982 film was mercifully short-lived.
Corey Irwin
The 'Fast Times at Ridgemont High' House Is for Sale for $740,000
Home was used in movie's famous pool scene.
'Stranger Things' Clip Turns the Cars' 'Fast Times at Ridgemont High' Scene Upside Down
Clip from new season features gender-swapped take on famous '80s movie scene that featured "Moving in Stereo."
How 'Fast Times at Ridgemont High' Revolutionized Teen Movies
Cameron Crowe's first movie got all of the details of high-school life right, especially the music the students were listening to.
Annie Zaleski

redpajama_set_name: RedPajamaCommonCrawl


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November 5, 2022 Filthy Reads
Salt-N-Pepa's DJ Spinderella Reunites With Group For Hollywood Walk Of Fame Ceremony
Posted by Zackary Jennings
Salt-N-Pepa reunited with DJ Spinderella this week to celebrate the group receiving a star on the Hollywood Walk of Fame.
The legendary group comprised of Cheryl "Salt" James, Sandra "Pepa" Denton, and Deidra "DJ Spinderella" Roper got back together on Friday (November 4) to receive their flowers for the grand occasion. The reunion marked the first public appearance by all three members since 2019.
Addressing the crowd, Spinderella spoke about the highs and lows that the group experienced since they arrived on the Hip Hop scene back in the '80s. "Thank you Salt and Pep for mentoring me," she said (via E! News). "We been through it, ups and downs, life lessons."
She added: "It wasn't just the music, it was our relationship and that means everything to me so whatever we got to do to fix that, let's get some unity back in this! Let's figure it out and be iconic and be what the fans want."
A post shared by Salt 'N' Pepa (@saltnpepaofficial)
Both Salt and Pepa expressed their immense gratitude for the honor as they reflected on their trailblazing legacy in Hip Hop.
"Keep the faith," Salt said to the crowd. "Your setback is a setup for your comeback!" said Salt. "Everything you're experiencing and learning along the way is preparing you for what you asked for, for what you prayed for… keep your head up and keep on pushing it ladies!"
Pepa added that she'd "never thought" that the group would receive a star on the Hollywood Walk of Fame.
"Look at that? Hip Hop has lasted for the women!" Denton said. "We gotta keep empowering each other, lifting each other up, pass the torch, this is our time as well, and goes to show you that Salt-N-Pepa got a stamp in the earth."
We go together like Salt~N~Pepa & Spinderella, now on Hollywood Walk of Fame Forever ⭐❤. Thank you so much for all the love everyone ! pic.twitter.com/1w1RR8htKe
— Salt N Pepa (@TheSaltNPepa) November 4, 2022
After decades of success, DJ Spinderella claimed that she was fired from the group just before they were set to tour with New Kids on the Block. Shortly thereafter, Spinderella filed a lawsuit against Salt and Pepa for unpaid royalties, multiple breaches of contract, and fraud.
"Despite my participation in promoting the tour and being highly publicized as one of the acts, in January 2019 I received a 'termination' email from #SaltnPepa excluding me from performances with the group,' she wrote on Instagram at the time.
2Pac's Unearthed Poem To Salt-N-Pepa's Salt Displays A Deep Pain
Eventually, the case was dismissed with prejudice which means that Spinderella cannot refile her claims from December 2019, according to court documents.
In February 2021, Spinderella told Billboard: "The relationship is over. The only way something like that would happen is if we get this business handled and they offer an apology to me."
"When you have a legacy, you want to make sure that would outweigh this stuff," she continued. "So I'm not, you know, I'm not closed off to that, but I will be respected. I will be treated fairly. … I will never be in a group that does not want to be with me."
Salt-N-Pepa made history as the first female rap act to win a Grammy Award in 1995 when their hit "None of Your Business" won for Best Rap Performance by a Duo or Group.
In total, the iconic group charted eight Top 40 singles on the Billboard 100 and sold over 15 million records worldwide making them one of the bestselling rap acts of all time.
Lil Yachty Says Drake's Megan Thee Stallion Bars Are Actually About Women With BBLs
Jim Jones Salutes TakeOff During His 'Drip Report'


THAT'S WHAT EVERYONE CALLS HIM. It doesn't seem improper, we just do it. Merce's work, Merce's studio, Merce's dancers, Merce's performances. Christened Mercier Philip Cunningham, known as Merce.
Because the name so suits him, suggesting, as it does, both the element mercury—quicksilver, changeable, unpredictable—and the god Mercury, fleet-footed messenger from Olympus. Second, fans (and isn't that what we are, at heart?) often call their favorites by their given names: Rudy, Martha, Misha, Twyla … Merce.
But that is not all. Merce is called Merce because his manner is unaffected and direct; because he is held in great affection, as well as esteem; and because he is so clearly our contemporary—if we can catch up with him. This man who has kept dance apace with the other arts of the twentieth century—music, painting and sculpture, literature—is now busy whisking it into the twenty-first. His work is not merely reflective, it is predictive. He is the least dated person imaginable, and the most acute observer of natural phenomena.
Here are a few things about Merce that you won't find out from his dances: He has a beautiful speaking voice, melodious and low, and the most marvelous laugh. He likes good red wine. He has a black leather jacket. His mother, a woman of considerable independence, loved to travel. His father was a lawyer. He is a Chevalier de la Légion D'Honneur, appointed by president François Mitterand. He doesn't like to celebrate his birthday.
Here are some things you will find out: There is no greater choreographer, no braver or more truthful performer. There is no one more innovative. His dances encompass a technique and a philosophy yet are full of the everyday.
Here are the best things about Merce's dances: They are commanding and rigorous, and submit themselves readily to explication and analysis. Recollected in tranquillity, they absorb all thought, all conjecture—a strange and wonderful power common to all profound works of imagination. They offer a proposition about the function of dance, and a suggestion for how to go about looking at it. One might even come to think, after a long time of looking and thinking, that these dances offer a proposition about the nature of life, and how to go through it. Yet none of this matters at the moment of seeing the dance.
In the theater, all you have to do is open your eyes and your mind, and let the dance in. Everything you need to know is in it. There is no secret. You can enjoy figuring out the dance—there is much fun and reward in this—or, when the time is ripe, you can let the dance transfigure you. How this happens is a mystery not easily expressed in words, for dance comes in at the eye. One can say this much, at least. It is not something that happens with every dance of Merce's, or at every performance, and yet there is this possibility, this necessity: You will find yourself in the dance.
Some years ago, the Merce Cunningham Dance Company performed a season of eleven Events at New York City's Joyce Theater. (These ninety-minute works, unique at each performance, are paradigmatic Cunningham—made up of fragments, short and long, from the repertory; indifferent as to accompaniment, decor, and costuming; dance for its own sake.) At that time, John Cage, Takehisa Kosugi, and David Tudor were in the pit. (Their music is a whole story—a separate story—unto itself.) One night, Cage waxed oracular, sending forth garbled messages that directly addressed the very issue at hand, as it were. That is, how to partake of the dance before us.
Where are we in it? We are with Merce. There is no better company, and there's no need to worry about where we are going. As Merce says, "The only way to do it is to do it." We learn by going where we have to go.
Dance Ink Monograph I, 1994, published by Patsy Tarr.
In the buginning is the woid, in the muddle is the sound-dance, and therinofter you're in the unbewised again….
"Sounddance" is Merce Cunningham's iconic work, and now, this week, it will be performed for the last time in a theater where it has been at home before, in the nation's capital. Here, once again, before our ears and in our ears, three arts—conceived separately and only converging in the theater–will combine, as if they were made for one another. The first is of course the dance; the second the decor (costumes and scenery) the third, the music. There is not, has not been, and won't ever be another Cunningham dance with a greater unity of impression than this one, the elements joining in a felicitous and exponential explosion.
You don't have to look far into this occasion to see that this last performance of this dance is ripe with metaphor. Next week, the company returns to New York, for performances at The Brooklyn Academy of Music. Then it's on to Paris. On Christmas Eve, the company will fly home to give its final performances–three last days at the Park Avenue Armory. But in Washington, the very last month in the life of a company that began in 1953 starts with the piece that sums it all up. Everything is in this dance. It always was. And still, it expands to absorb current situation, current meaning, current thought.
The very first performances of Merce Cunningham's "Split Sides" were at the Brooklyn Academy of Music, where it returned during the Merce Cunningham Dance Company's Legacy Tour, each night occasioning a series of dice tosses to select among the many possible combinations of set, costumes, music, lights, and choreography. Here is a diary of those first four evenings, and what they revealed.
Rolling the dice gives a moment of wonder, the imagination conjuring.
A split-second later, the dice at rest, the mind becomes active.
OF ALL of the multiple innovations in the work of Merce Cunningham, the use of chance is the most confusing. Such a clear thing, this toss of a die, or a handful of pennies, and yet chance is the part of the Cunningham dogma taken on faith, and dimly apprehended.
The independence of dance as an art form–the notion that dance does not need music, but may simply coexist with it—still may seem heresy to some, but as an idea it is well understood. The separation of dance from story is now old hat, or old enough, though still giving rise to the notion that Cunningham's dances are "abstract," when dance, because it is done by people, can never really be abstract.
BUT CHANCE! Chance makes people think of randomness, of disorder, of improvisation, of fate and fortune, of things made up as they are happening, or just before. Nothing, though, could be further from the Merceian truth, which is quite the opposite. His is not the unhinged Miltonic world of Paradise Lost, where "Chaos umpire sits," and "Chance governs all." Not in the slightest. In his world, Merce governs all, even when by a kind of non-doing, this latter being neither benign nor malign, but a kind of sovereign absenting of ego. Even when Cunningham does not make choices—as when, for instance, he leaves the decor to the art director, or some similar personage, who chooses the artists; and likewise hands off the music—he has chosen the chooser. The truth is that in his world, Cunningham is God, or, in terms of the Tao, the center of the wheel from which all spokes extend.
Every choice, or non-choice, is made by him.
You can see the images as an assemblage of unlike elements co-existing, and you can see the dancers among them representing beauty–and grace itself. Tilting at gravity, they embody the ability to fly through the air under one's own power.
Or, you can see the dancers apart–find them to be a beautiful refuge, as art can be, from the world and its various clamors. They draw your eye, and into the canvas you fall, and all the rest is left behind. Outside. You're in here. Inside the painting, or inside the dance.


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By William Wolf
TORONTO INTERNATIONAL FILM FESTIVAL 2011--THE DESCENDANTS Send This Review to a Friend
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TORONTO INTERNATIONAL FILM FESTIVAL 2011--THE DESCENDANTS
George Clooney has become such a dominant screen presence that he is the closest we have to charismatic stars of the past, such as Cary Grant, Henry Fonda or James Stewart. One can't take eyes off him, and he strikes a chord with whatever role he inhabits. His performance in "The Descendants," set in Hawaii and directed by Alexander Payne, who wrote the screenplay with Nat Faxon and Jim Rash, is primarily what makes the film click as engrossing drama.
Clooney plays Matt King, a lawyer and father of two daughters, who is distraught because his wife lies in a coma as a result of a boating accident. He gets an extra jolt when he learns that she had been cheating on him. A wave of anger overtakes him and he is determined to confront her lover. But when he does, it becomes clear to him that life is not that simple.
The man with whom his wife was trysting is rooted to his own family, and out of decency King believes the lover should have a chance to say goodbye to his wife before she dies. Clooney brings the sort of intensity and intelligence to the role that is consistently involving, and the plot adds another element that, although less interesting than the emotional relationship aspects, opens the way to a further development in King's character.
King's agreement is key to a development plan embracing family land that has been part of its heritage. Greed has set in at the prospect of a big profit in which relatives can share. King finds the deal troublesome and the question of whether or not he will go along or block the proposal adds to the drama. When you put everything together, including King's efforts to be a good father under pressure, "The Descendants," benefiting from the screenplay's sharp insights and dialogue, emerges as likable drama and a prime Clooney showcase. Others in the cast include Shailene Woodley, Beau Bridges, Judy Greer and Robert Forster. A Fox Searchlight Films release.
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STUDIES OF THE DEPENDENCE-PRODUCING POTENTIAL OF THE NARCOTIC ANTAGONIST 2-CYCLOPROPYLMETHYL-2'-HYDROXY-5,9-DIMETHYL-6,7-BENZOMORPHAN (CYCLAZOCINE, WIN-20,740, ARC II-C-3)
W. R. Martin, H. F. Fraser, C. W. Gorodetzky and D. E. Rosenberg
Journal of Pharmacology and Experimental Therapeutics December 1965, 150 (3) 426-436;
W. R. Martin
H. F. Fraser
C. W. Gorodetzky
D. E. Rosenberg
The effects of single doses and chronic administration of cyclazocine have been studied in nontolerant postaddicts, as well as in postaddicts physically dependent upon morphine. In addition, cyclazocine has been compared with morphine sulfate and nalorphine hydrochloride.
Single dose studies indicate that cyclazocine produces a degree of euphoria, and that maximal euphoric effects are produced with doses of the order of magnitude of 1 mg/70 kg. The subjective effects produced by cyclazocine, however, are qualitatively different from those produced by morphine and most closely resemble those of nalorphine. In addition, larger doses of cyclazocine (1.0 and 2.0 mg/70 kg) produced certain effects which resembled, at least superficially, those produced by barbiturates.
Cyclazocine does not suppress abstinence in subjects physically dependent on morphine; on the contrary, it precipitates abstinence in a manner similar to that of nalorphine.
Subjects chronically intoxicated with 13.2 mg/70 kg/day of cyclazocine, using a gradually progressing dose schedule, showed definite evidence of tolerance to cyclazocine, cross tolerance to nalorphine, and exhibited a definite abstinence syndrome when cyclazocine was withdrawn. The predominant signs of abstinence from cyclazocine consisted of an increase in body temperature, mydriasis, loss of appetite, decrease in body weight, and tachycardia. The abstinence syndrome was slow in developing, first becoming apparent on the third or fourth day following withdrawal, and reaching a maximum on the seventh day of abstinence. Minimal signs of abstinence were seen as long as 6 weeks following withdrawal. The abstinence syndrome was qualitatively different from that from morphine. Although cyclazocine produces a type of euphoria, tolerance, and physical dependence, the bulk of evidence indicates that this agent is qualitatively different from morphine. In general, the effects of cyclazocine most closely resembled those of nalorphine.
In conclusion, cyclazocine should not be classified as a morphine-like analgesic and its potential for abuse by narcotic addicts is regarded as being very low. Whether it would be abused on the basis of other pharmacologic properties, particularly for its sedative characteristics, cannot be predicted on the basis of these experiments.
Accepted July 1, 1965.
The Williams & Wilkins Comapny
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CRV431 Decreases Liver Fibrosis and Tumor Development
Analysis of Expression of cGMP-Dependent Protein Kinase in Rabbit Heart Cells
Spontaneous Locomotor Activity and Pharmacokinetics of Intravenous Methamphetamine and Its Metabolite Amphetamine in the Rat
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New Mill, West Yorkshire, England, is a small, semi-rural village near the town of Holmfirth.  It is in the metropolitan borough of Kirklees and the civil parish of Holme Valley. The village had a population of 1,259 (with Fulstone) in the 2001 census. The village is  east of Holmfirth and  south of Huddersfield.

The centre of the village is now on the crossroads of the Huddersfield - Sheffield A616  and Barnsley - Manchester A635 roads. There is a Post Office, one pub, one Indian restaurant, a branch of the local Co-op and 2 pharmacies plus other amenities all centred on the crossroads. The village centre used to be sited slightly further east near the church on Sude Hill.

Unsurprisingly, there were textile mills in the village such as Moorhouse & Brook, on Greenhill Bank Road, and Bower and Roebuck, nestling in the valley just off the A616 Sheffield Road.  With the decline in traditional heavy woollen industries both these mills have now closed. Bower & Roebuck's Wildspur Mills provided an opportunity for property developers to convert it into flats, Moorhouse & Brook's mill has been demolished and a new housing development built on the site.

The village is also home to the New Mill Male Voice Choir, which was established in 1991.

New Mill was created an urban district of the West Riding of Yorkshire in 1895, and covered the parishes of Fulstone, Hepworth and Scholes.  The urban district was abolished in 1938 by a County Review Order which saw the district and parishes merged into the urban district and parish of Holmfirth, which has been since included in Kirklees, West Yorkshire and renamed Holme Valley.

References

External links

New Mill Male Voice Choir
Christ Church, New Mill

Villages in West Yorkshire
Holme Valley
Geography of Holmfirth
Towns and villages of the Peak District

redpajama_set_name: RedPajamaWikipedia


text:
Boston University, Holy Cross Teams Wear Masks In Basketball Game
WGBH Radio | By Esteban Bustillos
Published January 6, 2021 at 5:08 AM EST
NOEL KING, HOST:
Athletes and their coaches have tried to compete safely during the pandemic with varying degrees of success. Yesterday, the men's basketball teams from Boston University and Holy Cross played while wearing masks. Here is Esteban Bustillos from member station GBH in Boston.
ESTEBAN BUSTILLOS, BYLINE: College basketball without fans can feel like a shell of its normal self, easily heard here in the quiet BU gym.
(SOUNDBITE OF ARCHIVED RECORDING)
UNIDENTIFIED PERSON: Run here. But a reach-in steal by Judson Martindale, and he'll get the easy two.
BUSTILLOS: Also different, both the BU Terriers and Holy Cross Crusaders wore masks during gameplay. While some high school basketball teams already do it, it's believed to be the first time two teams have donned masks in the Division 1 men's game. After the contest, which the Crusaders won 68 to 66, Holy Cross head coach Brett Nelson wasn't fazed.
BRETT NELSON: You know, we practiced in them for four months now. And, you know, it's very unusual, this whole pandemic. But honestly, once we got out there, our guys are used to playing with them. So I don't think it played into the game at all.
BUSTILLOS: Holy Cross senior guard Austin Butler admitted there are different logistics involved in playing a real game masked up.
AUSTIN BUTLER: And, you know, it's hard to breathe. Sometimes, they fall down. And they get sweaty. And they're hard to stay up.
BUSTILLOS: BU requires masks in all shared spaces on campus, including athletic events, for everyone. BU's been practicing with them since September. It's an extension of the uniform for junior guard Jonas Harper.
JONAS HARPER: At first, it was a little irritating. But now that I've used it more and more, it's - I've been getting used to it. And we're using it for a good reason. So at the end of the day, it's the right measures to do.
BUSTILLOS: Face masks during games, that's new as the coronavirus continues to reshape how sports are played.
For NPR News, I'm Esteban Bustillos in Boston.
(SOUNDBITE OF PETE ROCK'S "NO TEARS (INSTRUMENTAL)") Transcript provided by NPR, Copyright NPR.
Esteban Bustillos


text:
class writer1 : public writer
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public:
	inline writer1(){}

	void print_whatever(const std::string s) const override;

	template<class Archive>
	void serialize(Archive & ar, unsigned int file_version)
	{
		ar.template register_type<writer1>();
		ar & BOOST_SERIALIZATION_BASE_OBJECT_NVP(writer);
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#endif

redpajama_set_name: RedPajamaGithub


text:
Alessandro Melani, född 4 februari 1639, död 3 oktober 1703, var en italiensk kompositör och bror till kompositören Jacopo Melani och castratsångaren Atto Melani . Tillsammans med Bernardo Pasquini och Alessandro Scarlatti var han en av de ledande kompositörerna som var aktiva i Rom under 1600-talet. Han räknas också till den andra skolan av romerska operakompositörer som började med hans brors opera Il Girello från 1668. Han är mest ihågkommen för sin stora produktion av liturgisk musik som han skrev medan han tjänstgjorde på olika musikaliska anställningar i Rom. Av särskilt intresse är det stora antalet polychoral motetter som han producerat och hans åtta tillskrivna oratorier. Tre publicerade samlingar av hans liturgiska musik finns idag bevarade, tillsammans med ett antal enskilda motetter från andra publicerade volymer. Ett antal originalmanuskript har också bevarats.

Biografi
Melani föddes i Pistoia. Han började bid 11 års ålder sjunga i Pistoia-katedralen  och stannade där i tio år tills han blev maestro di cappella i Orvieto 1663 och Ferrara 1665. Han återvände till Pistoia i december 1666 för att i juni 1667 ersätta sin bror som maestro di cappella i katedralen. I oktober utnämndes han till maestro di cappella vid Basilica di Santa Maria Maggiore i Rom. Han stannade där till juli 1672 då han blev maestro i San Luigi dei Francesi. Han stannade kvar i den rollen fram till sin död 31 år senare.

Melani var kardinal Giulio Rospigliosis (senare påven Clement IX) favoritkompositör. Påvekonklaven 1667 gav honom i uppdrag att skriva en opera (okänd titel) för karnevalen 1668. Hans nästa opera, L'empio punito (beställd av Marie Mancini), hade premiär på Karnevalen ett år senare och var den första operan om Don Juan. År 1686 samarbetade han med Scarlatti och Pasquini på operan Santa Dimna. År 1685 komponerade han ett oratorium, Golia abbattuto till kung Johannes III av Polen. Verket skrevs för att fira heliga ligans seger mot turkarna, han fick uppdraget genom påven Innocentius XI. Detta tillsammans med det faktum att Alessandros brorsöner blev en del av den mindre adeln i Toscana runt denna tid har fått vissa forskare att spekulera i att politiken spelade en roll i händelserna kring 1685 kommission.

Melani skrev ett annat anmärkningsvärt oratorium 1690, Lo scisma nel sacerdozio (förlorat), för Francesco II d'Este. Av alla oratorier som tillskrivits honom var Il fratricidio di Caino den som framfördes mest. Han åtnjöt också beskyddet av Ferdinando II de 'Medici, storhertigen i Toscana och han listades bland de "berömda musikprofessorerna som skyddades av prinsen av Toscana" 1695. Han dog i Rom 64 år gammal.

Musikverk
Operor

 L'Ergenia (Rom, 1668)
 L'empio punito (Filippo Acciaiuoli och Giovanni Filippo Apolloni, Rom, 1669)
 Le reciproche gelosie (Bartolomeo Nencini, Siena, 1677)
 Il carceriere di sé medesimo (Ludovico Adimari, Florens, 1681)
 Ama chi t'ama (Bartolomeo Nencini, Siena 1682)
 L'Idaspe
 Il conte d'Altamura ovvero Il vecchio geloso
 La santa Dimna figlia del re d'Irlanda (Benedetto Pamphili, Rom, 1686, endast akt 1, akt 2 Bernardo Pasquini, akt 3 Alessandro Scarlatti )
 L'innocenza vendicata overo La santa Eugenia (Giulio Bussi, Viterbo, 1686)

Oratorier

 La destruttione di Jerico (Rom, 1675)
 La morte di Oloferne (libretto Bartolomeo Nencini, Rom, 1675)
 Il giudizio di Salomone (Ferrara, 1676)
 Il victimicio d'Abel (Benedetto Pamphili, Rom, 1678)
 Santa Francesca Romana (libretto Giulio Bussi, Rom, 1679)
 Santa Rosa (libretto Giulio Bussi, Viterbo, 1686)
 Lo scisma del sacerdozio (libretto Giovan Battista Giardini, Modena, 1691)

Källor

 Robert Lamar Weaver, "Alessandro Melani", The New Grove Dictionary of Music and Musicians, 2001.
 Arnaldo Morelli, "Melani, Alessandro", i Dizionario Biografico degli Italiani, vol. 58 (Rom, 2009)

Externa länkar

Personer från Pistoia
Italienska operatonsättare
Avlidna 1703
Födda 1639
män
Italienska musiker under 1600-talet


text:
The Great Gatsby Lecture Part II
May 28, 2019 May 24, 2019 / Matthew Teutsch
In my previous post, I discussed my lecture of F. Scott Fitzgerald's The Great Gatsby (1925). (I have the slides on Google Docs.) I wrote about the way that Fitzgerald, from the outset, constructs the novel as a facade, the ways that the novel does not accept all of its readers, and I concluded with the ways that the novel pushes back against xenophobic ideas such as Tom Buchanan's belief in the superiority of the Nordic race. Today, I want to talk about the rest of the lecture.
After looking at Tom's flawed logic, I move on to explore how he still maintains a facade himself, not just in regard to his ancestry. Early in the novel, Nick talks Tom's "various physical accomplishments," specifically his exploits on the football field at Yale. Nick continues by pointing out that Tom is like "one of those men who reach such acute limited excellence at twenty-one that everything afterwards savours of anti-climax." Nick sees Tom drifting, endlessly, just like Gatsby, beating his oars against the current into the past. Nick finishes by claiming that Tom rows on "forever seeking a little wistfully for the dramatic turbulence of some irrecoverable football game." In this manner, he is like Gatsby, and he puts on the facade of masculinity and athletic prowess to cover up the fact that he physically peaked at twenty one.
"It's a bona-fide piece of printed matter. It fooled me. This fella's a regular Belasco. It's a triumph. What thoroughness! What realism!"
Just like Tom, Gatsby seeks to repeat the past; however, Nick has an affection and respect for Gatsby that he does not have for Tom. For Nick, what preyed on Gatsby, the lingering, unrecoverable past, is what he despised. This does not mean that he approved of Gatsby's actions; it just means that Gatsby, and his attempts to reclaim something he can't reclaim cause Nick to feel for him in a way that he cannot feel for Tom. Part of this, I would argue, arises from Tom's and Gatsby's respective positions at the start of their lives.
Fitzgerald, himself, commented on the lines that blur fact from fiction. They exist as an illusions, a nostalgic, imaginary shadow that we cannot ever grasp. In 1924, he wrote, "That's the whole burden of this novel—the loss of those illusions that give such color to the world so that you don't care whether things are true or false as long as they partake of the magical glory." Gatsby partakes of that "magical glory." He appears to have everything anyone could ever want, yet he still suffers. He does not have love, companionship, in essence true human relationships. He has facades of relationships.
The illusion of reality comes up at other places in the novel as well, specifically in Tom and Myrtle's apartment and in Gatsby's library. The apartment is sparsely furnished, and the furnishing tell a lot about Myrtle's position and her aspirations. One of the key furnishings are the "tapestried furniture" that has images "of ladies swinging in the gardens of Versailles." The Garden of Versailles, of course, serve as a symbol of opulence and wealth, one that pushes those not born into that society to the side, excluding them.
After Tom breaks Myrtle's nose for mentioning Daisy, Catherine McKee runs around trying to stop Myrtle's bleeding nose. Myrtle, sitting on the couch, grabs a copy of Town Tattle and holds it above the "tapestry scenes of Versailles" to keep them from getting blood on this. The fact that she grabs Town Tattle is important because it was a popular gossip magazine that showcased the lives and activities of the wealthy. As such, it was a facade just like the tapestries. Each item works to create an image of wealth and sophistication for Myrtle; however, they fail, just as they do with Gatsby. Tom does not treat her as he does Daisy; instead, he merely treats her as a fling. (This does not mean that he treats Daisy in a positive manner.)
Along with Myrtle's facade, Gatsby's entire house exists as a front, nothing more. In the library, the Owl Eyed man tells Nick and Jordan,
"Absolutely real — have pages and everything. I thought they'd be a nice durable cardboard. Matter of fact, they're absolutely real. Pages and — Here! Lemme show you."
Taking our skepticism for granted, he rushed to the bookcases and returned with Volume One of the "Stoddard Lectures."
"See!" he cried triumphantly. "It's a bona-fide piece of printed matter. It fooled me. This fella's a regular Belasco. It's a triumph. What thoroughness! What realism! Knew when to stop, too — didn't cut the pages. But what do you want? What do you expect?"
The man expects the books in the library to be decorative, nothing more. Thus, he expects them to be unreal. He discovers, though, that the have real, tangible pages. Yet, the man still does not believe that Gatsby is in any way authentic. He tells Nick and Jordan, "This fella's a regular Belasco." Here, the Owl Eyed man references David Belasco, an American theater producer who had detailed descriptions of the sets in his scripts. Like Belasco, Gatsby has constructed a set (his mansion) to the point where it looks authentic but in reality it is not. This facade extends even to Gatsby's mannerisms and use of terms such as "Old sport." Nick even says that Gatsby's "elaborate formality of speech just missed being absurd."
David Belasco
Throughout the novel, Gatsby and the other characters express loneliness and alienation, a theme that recurs extensively in modernist literature. Gertrude Stein famously labeled Fitzgerald and others the Génération perdue, telling Hemingway, "That is what you are. That's what you all are. . . all of you young people who served in the war. You are a lost generation." The Great Gatsby explores these ideas of loss and alienation. Nick speaks specifically about this when he talks about his service during WW I: "I participated in that delayed Teutonic migration known as the Great War. I enjoyed the counter-raid so thoroughly that I came back restless." This restlessness caused him to move East.
At other points, Nick expresses the aimlessness of himself and other characters in the story. During the party at Tom and Myrtle's apartment, he talks about people coming and going, almost aimlessly: "People disappeared, reappeared, made plans to go somewhere, and then lost each other, searched for each other, found each other a few feet away." Looking upon Gatsby's empty mansion, Nick thinks, "A sudden emptiness seemed to flow now from the windows and the great doors, endowing with complete isolation the figure of the host who stood on the porch, his hand up in a formal gesture of farewell." The image of Gatsby stands in "complete isolation" in the doorway, removed from everyone else, alone and isolated.
While I spoke about the American Dream over the course of the lecture, I finished by showing how Gatsby pulls on Benjamin Franklin's up from your bootstraps self help mantra in his Autobiography. Along with this, I end with Nick's final reflections as he thinks back to the Dutch settlers who came to the region. For them, the land stood before them, and they dreamed enchanted dreams of what they could accomplish. Those dreams, though, ceased to exist as time progressed. Some, like the Carraways, succeed, constructing mythologies about their ancestry. Others, like the Gatzes did not. Having to work his way up socially, Jay Gatz changed his identity to fit in with the Buchanon's, but he did not fit in. They excluded him, seeing him as an interloper, not as someone who was following the same path that their families followed.
This is not, of course, all that I could say or did say in the lecture. I hope, though, that it is helpful to you as you look at Fitzgerald's novel. What are your thoughts? Please let me know in the comments below. Make sure to follow me on Twitter @silaslapham.
f. scott fitzgerald, jay gatz, modernism, the great gatsby, twentieth century literature
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2 thoughts on "The Great Gatsby Lecture Part II"
bronte16
I thought this was quite interesting! Gatsby has always been one of my favorite novels to think about!
Matthew Teutsch
Thanks. I really despise the characters and overall story of Gatsby, but it is a fascinating text. Fitzgerald does so many stylistic and thought provoking things in the novel.


text:
By: Fiona Hill
Buy eBook Now
"Of every book written by anybody associated with the Trump administration, in any way, [this] is absolutely the one to read."
INSTANT NEW YORK TIMES BESTSELLER | A celebrated foreign policy expert and key impeachment witness reveals how declining opportunity has set America on the grim path of modern Russia—and draws on her personal journey out of poverty, as well as her unique perspectives as an historian and policy maker, to show how we can return hope to our forgotten places.
"As a memoir this is hard to put down; if you are seeking a better American future you should pick it up."
—Timothy Snyder, New York Times best-selling author of On Tyranny
FIONA HILL is the Robert Bosch Senior Fellow at the Center on the United States and Europe in the Foreign Policy program at the Brookings Institution. From 2017 to 2019, she served as deputy assistant to the president and senior director for European and Russian affairs on the National Security Council. From 2006 to 2009, she served as national intelligence officer for Russia and Eurasia at the National Intelligence Council. She has researched and published extensively on issues related to Russia, the Caucasus, Central Asia, regional conflicts, energy, and strategic issues. Coauthor of Mr. Putin: Operative in the Kremlin and The Siberian Curse: How Communist Planners Left Russia Out in the Cold, she holds a master's degree in Soviet studies and a doctorate in history from Harvard University and a master's in Russian and modern history from St. Andrews University in Scotland. She also has pursued studies at Moscow's Maurice Thorez Institute of Foreign Languages. Hill is a member of the Council on Foreign Relations and lives in the Washington, DC, area.
A Washington Post Bestseller
A Washington Post Notable Book of the Year
A Financial Times Best Book of the Year
A Guardian Best Politics Book of the Year
An Economist Best Book of the Year
"The rare Trump insider memoir that doesn't obsess over Trump . . . As it turns out, we should have paid more attention to Hill's life story. Though her book does feature first-person accounts of Trump and his inner circle, There is Nothing for You Here is a more ambitious and personal effort."
"Hill is a lucid writer, delivering her reminiscences in a vivid and wry style. . . . with immediacy, tenderness and a good bit of gallows humor."
"A great book … De Tocqueville's 'Democracy in America' became 19th century required reading. Hill's deserves the same status in the 21st."—Carl Bernstein
"Thoughtful...compelling....While other Trump-era memoirs have focused solely on the carnival, Hill's scope pans out to the wounded country that put him in office, and then wider still, across the Atlantic to Britain and then across Europe to Russia." —The Guardian
"Full of startling and unsettling insights into how Trump dealt with foreign leaders and his 'autocrat envy.' Hill's book is also a compelling memoir about her journey from a working-class background in northern England to the corridors of power in Washington. Her background gives her particular insight into the social and economic forces driving the rise of populism in the US, UK and Russia."—Gideon Rachman, "Best books of 2021," Financial Times
"The alarm [Hill] sounds is urgent . . . She sees striking similarities between the impoverished region of her roots and disadvantaged areas of both America and Russia. . . . Her journey from disadvantaged origins to success has echoes of the bestselling tales of Tara Westover's Educated and J.D. Vance's Hillbilly Elegy."
"This book has a miraculous quality. Fiona Hill has transformed her own predicaments in the Trump administration into a prescription for a better America. Known as an outstanding expert on Russia and an exemplary public servant, she reveals herself here as a wise observer and a beautiful writer. As a memoir this is hard to put down; if you are seeking a better American future you should pick it up."
—Timothy Snyder, Yale University, New York Times best-selling author of On Tyranny: Twenty Lessons from the Twentieth Century
"[An] ambitious, immensely compelling memoir, Hill interweaves her interesting life story with events and issues she has continued to observe during her career . . . The author persuasively argues that America may be heading in a similar direction to Russia unless we address the crucial challenges facing much of the country, specifically regarding education, health care, and job opportunities. Drawing insightful parallels between Trump and Putin, she unpacks how the threat of populism can quickly undermine democracy . . . A shrewd, absorbing memoir that casts a sharp eye on America's future while offering feasible solutions for change."
—Kirkus Reviews, *starred* review
"[Hill] draws perceptive comparisons between the post-industrial blight of her childhood and disadvantaged parts of Russia and America—and between the Kremlin's evisceration of democracy and the dangers it faces in America."
—Economist, "The best books of 2021"
"Valuable and riveting . . . Hill's personal, professional and political lives form a coherent whole so that each part illuminates the other . . . a memoir that will give pleasure to readers today — and will be an important document for historians of the future."
"In this captivating chronicle of her improbable life, Fiona Hill takes us from a Northern England of idled coal mines and deindustrialization to Trump's Oval Office, demonstrating how individual biography can illuminate far broader issues of world affairs. Her book represents a stern and essential warning about the global threats to democracy and their root causes in a worldwide crisis of opportunity."
—Drew Gilpin Faust, President Emerita and Arthur Kingsley Porter University Professor, Harvard University
"A story told with self-deprecating humor and kindness . . . Unlike other tell-all authors from the Trump administration, [Hill] isn't obsessed with the scandalous. Much like her measured but riveting testimony in Trump's first impeachment, the book offers a more sober, and thus perhaps more alarming, portrait of the 45th president. If Hill's tone is restrained, it is damning by a thousand cuts. It lays out how a career devoted to understanding and managing the Russian threat crashed into her revelation that the greatest threat to America comes from within."
"A sobering analysis of the toxic environment Trump and his aides created and how it continues to threaten democracy's very existence."
—Booklist, *starred* review
"Fiona Hill knows all too well the threats posed by Russia and the Trump administration, but this well-written, analytically sophisticated autobiography is focused on an even more dangerous crisis: the vast and growing opportunity gap in the United States and much of the rest of the world. Her personal story of upward mobility from the distressed coal fields of northern England to the White House is, as she knows, 'a fluke.' That is precisely what makes this remarkable book must reading for anyone concerned about our country's future."
—Robert D. Putnam, Professor of Public Policy, Harvard Kennedy School, and New York Times best-selling author of Our Kids: The American Dream in Crisis and The Upswing: How America Came Together a Century Ago and How We Can Do It Again
"Fiona Hill is what the miners of County Durham called a 'clever lass' whose talents took her from England to Putin's Russia and to the Trump White House. She has lived through the social and economic disintegration of England, Russia, and America, and has the close-up experience to draw new parallels between Putin and Trump. She was a waitress who was expected to accept being groped in the Royal and Ancient Golf Club in St Andrews and was mistaken for a typist in the Oval Office during Trump's call with Putin—what else could the only woman be, and what matter if she was the only Russian speaker present? A candid, insightful, and disturbing story."
—Sir Angus Deaton, Nobel Prize winner and co-author of the New York Times best-selling Deaths of Despair and the Future of Capitalism
"Lucid . . . a forceful argument for investing in education
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Fantasy Zone II was developed and released for the Sega Master System back in 1987. Unfortunately the limitations of the console (the original Fantasy Zone was built on Sega's more powerful System 16 arcade hardware) crippled the design aspirations; admirable attempts to include new gameplay elements weren't successful and ultimately, it wasn't very good.
In 2008 Fantasy Zone finally received the true sequel it deserved via developer M2's remake (included in a Japan-only PS2 Fantasy Zone compilation) and it's dramatically superior in design, gameplay and presentation. In an additional stroke of genius, M2 created its new vision as though it had been made for 1980s arcades; more specifically by developing on an enhanced version of the System 16 arcade board. In short, it's the arcade release that never was, right down to a 1987 Sega copyright notice on the title screen.
Thankfully, this Nintendo 3DS iteration is based on the M2 remake and not the Master System original, ensuring the gorgeous re-drawn visuals are present and correct. Additionally the play area has been increased to fill the entire top screen of the 3DS, allowing for more time to react to incoming enemies and obstacles. The stereoscopic 3D is also brilliantly executed; multiple layers of depth-filled parallax scroll past smoothly, while in the foreground enemies pop-out with excellent clarity. Having the 3D slider up is definitely our preferred way to play.
If you've already spent some time with the first game you'll be quite at home with the sequel; in basic terms, it's more of the same. Set ten years after, the original hero Opa-Opa finds his home turf under threat once again. Taking to the skies you battle across seven increasingly difficult rounds, clearing each of all invading enemy bases followed by a boss fight. The final eighth round is a regurgitated boss-rush culminating in a final battle (which we won't spoil).
New to the sequel, the first seven Rounds all have two variations – a Bright Side and a Dark Side. Players can move between these via warp gates which appear when certain enemy bases are destroyed. The Dark Side is essentially a harder version of the current round, where enemies are more intense and plentiful, but provide more coins as a reward. The visuals also become appropriately darker and more menacing. Bases destroyed in the Bright Side remain destroyed upon transitioning to the Dark Side, and vice-versa if you choose to warp back. It's the classic risk-reward scenario, however completing all the boss battles whilst in the Dark Side is the only way to reach the best ending - the bottom touch screen is used to track your route through the rounds.
Power-ups are purchased from floating shops, which are harder to locate whilst in the Dark Side. Aside from the obvious benefits, owning a powered-up main weapon provides protection from a single hit, but results in the loss of the weapon. Some weapons that were single use in the original game are now unlimited (such as the Heavy Bomb) but require a couple of seconds to charge per use; a slightly refined system rather than a revolution.
All coins collected are automatically stored in a bank, which can be withdrawn from at the beginning of each game allowing instant access to expensive weaponry. Building up coin savings is also the key to extra options, which unlock at specific amounts and provide further assistance to players struggling with the difficulty.
Link Loop Land is a refreshing way to approach Fantasy Zone, feeling more akin to the original Geometry Wars with regards the ever increasing wave difficulty, and is an ideal mode for short bursts of play.
A final shout-out must be given to the soundtrack, which has been arranged and composed by Manabu Namiki (whose impressive musical credentials include a slew of classic 2D shooters). It really is fantastic and provides a perfect partner to the superb visuals.
To summarise, 3D Fantasy Zone II is a wonderfully sublime shooter that works perfectly as a handheld title. Developer M2 performed wonders with the original PS2 remake, but here on 3DS the team has outdone itself. It's hard to see how even M2 can raise the bar in terms of retro-remakes, and certainly bodes well for upcoming releases.
As with Out Run, the Nintendo 3DS is now home to the best version of Fantasy Zone II and, in our opinion, the best Fantasy Zone game in the entire series. If you have even a passing interest in the genre, you should pick this one up straight away.
I've been enjoying it since it released, but... is that a Baby D reference at the start of the article?
Fantasy Zone II was good on the Master System. (Certainly more interesting than the first). Better port.
(Nowhere near as bad as some of the terrible NES Arcade ports anyway that shouldn't ever have been released in favour of the Arcade original).
I'll pass the fantasy zone games in favor of Thunderblade and Streets of rage and sonic 2.
If I remember correctly (probably wrong), I last remember seeing Opa Opa in Sonic & SEGA All-Stars Racing. One of my favourite non-Mario Kart racers.
Damm those sound effects are really irritating if that cant be adjusted in the game and turned down ill have to opt out on this one.
Awesome cute'em up! Love these 3d emulator releases with so much control in the system options. We are at a desperate need for more shmups on the 3ds! Keep em coming, whether re-release or new titles. Is thunderblade available outside JP on the 3ds yet? I'm in NY, so I know that we don't have it yet.
I really liked this game on the Master System despite its shortcomings so I may have to try this out. My friend had the "roller controller" for the Master System and it worked great with this game giving precision movement so you could have a high speed. Not sure why else that controller was released and I never asked why he got it.
Sega is really showing Nintendo up when it comes to these re-releases of all it's classic 16bit games.
I mean why isn't Nintendo doing this with its own great 16bit classics?
There's a long list of amazing SNES games that would just be awesome given this kind of modern and truly loving treatment.
The one thing this version of the game doesn't have that I absolutely loved from the original Master System version is the paper money that floated down when you killed the bases and coins that actually bounced with the relative speed/inertia of the enemy that was defeated (both horizontally and vertically). It's a small touch but it was always so satisfying collecting the notes as they floated to the ground alongside having to sometimes chase the normal bouncing coins. For reference: https://www.youtube.com/watch?v=H2RUody7rNM The 3DS version of the game still looks totally sweet though.
PS. Fantasy Zone II is one of my favourite shmups of all time. Specifically the Master System version since that's the one I played but I imagine this is just as good if not better in many ways.
PPS. Please don't be daft and say that Fantasy Zone II on Master System was pretty rubbish. It's probably the best shooter on the system, certainly imo (although also widely regarded as such), and is great fun in its own right.
Edit: Also; there were some cool little touches in the Master System version that just worked; like the feet not actually coming out from the bottom of the ship until you were touching the ground, so it looked like it was a proper flying ship when in the air, which makes sense, and was kinda lowering it's landing gears (feet) as you approached the ground. It's the little details.
Spot on review and I gotta say, the most fun I am having on my 3DS at the moment. Link Loop Land is an awesome score attack mode.
@Kirk Exactly to many Fanboys are supporting their lazy nonsense Sega are charging around the same price as Nintendo but just look at the work/love Sega are showing their catalogue, Nintendo it doesn't matter fanboys will support them.
I hope everyone has been reading the M2 interviews over at the Sega Blog for each of these re-releases. It's a good way to really appreciate what's been put into these games!
Good rating! Passed on the original, because of what I read here at NL, but bought this before the review from a hunch. Really glad I did, because the game is pretty sweet! The endless mode surprised me, being more fun and hectic than I anticipated.
@Kirk I love the Master System version. And find it actually better in some ways than this 3D remake of the arcade port. I did get it, finished it with all three endings, and love what M2 did here once again.
BUT: the potions are gone, that you could buy (and find) in the SMS version, as well as the possibility to permanently upgrade your standard bullets.
And there's always just a light and dark zone in each level, whereas the SMS version had levels with 3 zones. Also you could decide when to enter the boss fight and the shops were permanent. Those are all things that made the sms version extremly good, in my opinion.
So yeah, the remake is great, but you have to keep in mind it is the remake of the arcade port and not the original MKIII/SMS version.
@adzix Totally agree with all of those observations.
Still no sign of OutRun in the Australian store. Why, God, WHY?!!!
Cmon sega!! Wii u eshop please!! Sooo many sega classics out there!!!
@DreamOn thanks for the tip!
Mostly good review. Although I totally disagree with the opening comments about the Master System version of FZ2. I really enjoyed the game back in the day. I thought the pacing, difficulty, game mechanics, bright colourful graphics and excellent BGM all played to the console's strengths and made it one of the best games in the system's library.
Anyway, I'm looking forward to playing this new version, have d/l'd but going to finish a couple od games in my backlog before i start.
Always been a sucker for the Fantasy Zone games, so I'm definitely going to grab this one.
I never did get this for anything else, so I might have to grab it soon-ish.
@Corbs Wow Corbie haven't seen you post in ages!
I really miss your reviews though those were great.


text:
PIL in SC seeks protection of forests, wildlife from fires
| Published: Friday, June 14, 2019, 7:58 [IST]
New Delhi, June 14: A PIL was filed in the Supreme Court seeking urgent steps to protect forests, wildlife and birds from wildfires in Uttarakhand, saying forest blazes have increased over the years causing huge loss to the environment.
The petition sought directions to the Centre, the Uttarakhand government and the principal chief conservator of forests in the state to make pre-fire arrangements and frame policy to prevent forest fires.
The plea, filed by advocate Rituparn Uniyal, also sought investigation into the matter by an independent agency and directions to declare the animal kingdom as legal entities having a distinct persona with corresponding rights, duties and liabilities of a living person.
1989 custodial death: Plea by sacked IPS officer Sanjiv Bhatt turned down
"Forest fires in Uttarakhand have been regular and historic feature. Every year forest fires in Uttarakhand causes great loss to the forest ecosystem, diversity of flora and fauna and economic wealth. Forest fire is one of the major disasters in the forests of Uttarakhand.
"Despite a consistent history of forest fires the ignorance, inactiveness, negligence and unreadiness of the respondents (Centre, state government and chief conservator of forests) have rendered a great loss to forests, wildlife and birds in Uttarakhand and thus caused ecological imbalance," it said.
The plea claimed one of the prominent forest research centres was at Uttarakhand but the authorities have not consulted the institution for remedies to tackle wildfires.
"Uttarakhand has one of the prominent forest research centres, that is, Forest Research Institute Deemed to be University, Dehradun. Surprisingly, the respondents have never consulted the institution for the reasons and solutions of devastating forest fires in the state. This clearly shows a lackadaisical approach of the respondents in tackling the forest fires," it said.
The plea further said forest and wildlife were the most important natural resources and played significant role in the human life and environment.
"Forests are socially and environmentally inter-linked with the people in the hilly areas and play important role in the economic welfare and development of the region," it said.
The plea claimed the concerned authorities have no clue as to how these fire took place and the ways to stop them which raised questions about the training received by the officials.
Sometimes even we suffer the brunt of the social media: SC
The plea further said two national parks -- Corbett National Park and Rajaji National Park -- were under threat because of these forest fires.
"One of the major fallouts of the wildfire was the generation of 'black carbon'. Black carbon, which is created by the incomplete combustion of any bio-matter and fossil fuels coats the Himalayan glaciers in the region. This makes the glaciers attract more heat and melt faster causing floods in the plains," it said.
The plea added that destruction of grasslands and lack of fodder for the livestock in the area was another worry which was starting to haunt the locals and the villagers.
"The loss of income from lack of tourism due to the forest fires was another pressing concern," it said.
Seeking legal rights for animals, the petition said 'Life' under the Constitution meant something more than mere survival or existence or instrumental value for human beings, but to lead a life with some intrinsic worth, honour or dignity.
"All the animals have honour and dignity. Thus, in order to protect and promote greater welfare of animals including avian and aquatic, animals are required to be conferred with the status of legal entity/ legal person," it said.
More SUPREME COURT News
Karnataka Crisis: SC to take up rebel MLAs' plea, BJP keeps close watch
Karnataka: 5 more rebel Congress MLAs move SC as Speaker holds on resignation
SC takes very serious note of obtaining order from Vacation Bench
24,212 cases of sexual crimes against children registered this year
SC orders Delhi Metro to start work on construction of 104-km Phase 4
SC orders status quo in Karnataka; No decision by Speaker until Tuesday
Setback for Kiran Bedi: SC orders L-G to seek relief in Madras HC
SC refuses to stay decision on Maratha quota, says no retrospective effect on decision
Karnataka Speaker moves SC seeking more time, top court refuses hearing today
supreme court protection wildlife fire
Story first published: Friday, June 14, 2019, 7:58 [IST]


text:
Q: Is there an idiomatic way of versioning clients to a database? I'm supplying client drivers to a database I am maintaining. The DB has lots of tables with well defined schemas. (Cassandra in this case)
From time to time there will be some breaking changes (stemming from product and system requirements) and the clients will "break" in the sense that the queries they were performing until now will not be correct in regards to the newer schemas.
I'm curious to know if there is a good clean way to "version" the clients to work with the corresponding tables?
For instance a naive implementation could add the version number to the table name, i.e. for every table in the db , append a version number to the table name.
The clients would always query tables that match this naming convention. Newer breaking versions would change the table name to match the newer version and clients would be upgraded accordingly.
Is there a better way to handle this?

A: It's also possible to add 1 version for you DB and 1 version that is stored on your client, when a breaking change is made you update the database version.
When the client starts a version check is performed and if the version missmatches an auto upgrade can be done.

A: I came across the same problem few months ago. We have to load the schema according to the Version in which our client should support. The solution we found is as follows:
Along with the schema, one more table will be created which contains the following fields ---> version_no, ks_name, table_name, column_name, add/drop, is_loaded, primary key(version_no,(ks_name, table_name, column_name)). Note:if you have single keyspace, you can remove that column or table name can be itself written as ks_name.table_name.
Then, whenever we want to load a new version, we will log the changes in that table and when we load the previous schema again, the script will make sure that the old alterations are effected such that it will roll back to the same previous version of schema. Make sure that you update the is_loaded field as it is the only way to differentiate if a schema is half loaded or script failed such that it will not rise further more errors. Hope it helps!!

redpajama_set_name: RedPajamaStackExchange


text:
Q: visibility issue in ViewPager in SherlockFragments while scrolling (in gingerbread) I have used ViewPager for scrolling among the fragments.
While testing on gingerbread there is a strange issue-
After scrolling first two tabs, the visibility of all fragments GONE completely

This continues until I change the orientation.
This issue occurs only at start in gingerbread devices only. It is working fine on ICS and others.
here is the code of TabsAdapter
  /**
 * This is a helper class that implements the management of tabs and all
 * details of connecting a ViewPager with associated TabHost. It relies on a
 * trick. Normally a tab host has a simple API for supplying a View or
 * Intent that each tab will show. This is not sufficient for switching
 * between pages. So instead we make the content part of the tab host 0dp
 * high (it is not shown) and the TabsAdapter supplies its own dummy view to
 * show as the tab content. It listens to changes in tabs, and takes care of
 * switch to the correct paged in the ViewPager whenever the selected tab
 * changes.
 */
private class TabsAdapter extends FragmentPagerAdapter implements
        ViewPager.OnPageChangeListener, ActionBar.TabListener {
    private final Context mContext;
    private final ActionBar mActionBar;
    private final ViewPager mViewPager;
    private final List<String> mTabs = new ArrayList<String>();
    private final List<Integer> mTabsId = new ArrayList<Integer>();
    private boolean hasClearedDetails = false;

    private int mCurrentPosition = -1;
    /**
     * Used during page migration, to remember the next position
     * {@link #onPageSelected(int)} specified.
     */
    private int mNextPosition = -1;

    public TabsAdapter(FragmentActivity activity, ActionBar actionBar, ViewPager pager) {
        super(activity.getSupportFragmentManager());
        mContext = activity;
        mActionBar = actionBar;
        mViewPager = pager;
        mViewPager.setAdapter(this);
        mViewPager.setOnPageChangeListener(this);
    }

    public void addTab(ActionBar.Tab tab, Class<?> clss, int tabId) {
        mTabs.add(clss.getName());
        mTabsId.add(tabId);
        mActionBar.addTab(tab.setTabListener(this));
        notifyDataSetChanged();
    }

    public void removeTabAt(int location) {
        mTabs.remove(location);
        mTabsId.remove(location);
        mActionBar.removeTabAt(location);
        notifyDataSetChanged();
    }

    public Integer getIdForPosition(int position) {
        if(position >= 0 && position < mTabsId.size()) {
            return mTabsId.get(position);
        }
        return null;
    }

    public Integer getPositionForId(int id) {
        int fPos = mTabsId.indexOf(id);
        if(fPos >= 0) {
            return fPos;
        }
        return null;
    }

    @Override
    public int getCount() {
        return mTabs.size();
    }

    @Override
    public Fragment getItem(int position) {
        return Fragment.instantiate(mContext, mTabs.get(position), new Bundle());
    }

    @Override
    public void onTabSelected(Tab tab, FragmentTransaction ft) {
        clearDetails();
        if (mViewPager.getCurrentItem() != tab.getPosition()) {
            Log.e(THIS_FILE+"Anurag debugging","ISSUE HERE");
            mViewPager.setCurrentItem(tab.getPosition(), true);
        }
    }

    @Override
    public void onPageSelected(int position) {
        mActionBar.setSelectedNavigationItem(position);

        if (mCurrentPosition == position) {
            Log.w(THIS_FILE, "Previous position and next position became same (" + position
                    + ")");
            Log.e(THIS_FILE, "Previous position and next position became same (" + position
                    + ")");
        }

        mNextPosition = position;
    }

    @Override
    public void onTabReselected(Tab tab, FragmentTransaction ft) {
        // Nothing to do
    }
    @Override
    public int getItemPosition(Object object){
        return mCurrentPosition;
        }
    @Override
    public void onTabUnselected(Tab tab, FragmentTransaction ft) {
        // Nothing to do
    }

    @Override
    public void onPageScrolled(int position, float positionOffset, int positionOffsetPixels) {
        // Nothing to do
    }

    @Override
    public void onPageScrollStateChanged(int state) {
        switch (state) {
            case ViewPager.SCROLL_STATE_IDLE: {
                Log.e(THIS_FILE, "SCROLL_STATE_IDLE"+mCurrentPosition);
                if (mCurrentPosition >= 0) {
                    sendFragmentVisibilityChange(mCurrentPosition, false);
                }
                if (mNextPosition >= 0) {
                    sendFragmentVisibilityChange(mNextPosition, true);
                }
                invalidateOptionsMenu();

                mCurrentPosition = mNextPosition;
                break;
            }
            case ViewPager.SCROLL_STATE_DRAGGING:
                Log.e(THIS_FILE, "SCROLL_STATE_DRAGGING");
                clearDetails();
                hasClearedDetails = true;
                break;
            case ViewPager.SCROLL_STATE_SETTLING:
                Log.e(THIS_FILE, "SCROLL_STATE_SETTLING");
                hasClearedDetails = false;
                break;
            default:
                break;
        }
    }

    private void clearDetails() {
        if (mDualPane && !hasClearedDetails) {
            Log.e(THIS_FILE, "check in clear detalis");
            FragmentTransaction ft = SipHome.this.getSupportFragmentManager()
                    .beginTransaction();
            ft.replace(R.id.details, new Fragment(), null);
            ft.setTransition(FragmentTransaction.TRANSIT_FRAGMENT_FADE);
            ft.commit();
        }
    }
}

The code for sendFragmentVisibilityChange is
  private void sendFragmentVisibilityChange(int position, boolean visibility) {
    try {
        final Fragment fragment = getFragmentAt(position);
        if (fragment instanceof ViewPagerVisibilityListener) {
            ((ViewPagerVisibilityListener) fragment).onVisibilityChanged(visibility);
        }
    }catch(IllegalStateException e) {
        Log.e(THIS_FILE, "Fragment not anymore managed");

        e.printStackTrace();
    }catch(Exception e) {
        Log.e(THIS_FILE, "Fragment not anymore managed");

        e.printStackTrace();
    }
}

Fragments are calling onVisibilityChanged to perform some operation on scrolling.
The fragments  extends SherlockFragment.
thanks in advance

A: set the OffscreenPageLimit of your ViewPager to number of Views your ViewPager actually holds using setoffscreenpagelimit(int count).


Addressing media on the resumption of diamond sales by ZCDC through the Minerals Marketing Corporation of Zimbabwe (MMCZ), Mines and Mining Development minister Winston Chitando was over the moon regarding success of the tender.
"The government is pleased to announce that the submitted bid value totalled US$28.3 million, and ZCDC and MMCZ are currently invoicing the successful bidders for payment. The bid average price was about $67 per carat," said Chitando.
Mining sector is one of Zimbabwe's economic pillars expected to contribute to economic recovery efforts, boost the country's foreign currency reserves, estimated to be contributing at least 13 percent of Gross Domestic Product (GDP).
"The recent ZCDC Diamond Sales Tender 3 conducted from 28 August to 12 September 2018 has been concluded, where 423,066.43 carats were put on sale," said Chitando.
The contribution of diamond to total mineral revenue increased from 5 percent in 2016, to 9 percent in 2017, with ZCDC contributing 80 percent of diamond output in 2017. The diamond sector is targeting to produce a combined output of 4.6 million carats in 2018.
Of the 122 diamond buyers invited to the ZCDC tender, 29 buyers participated in the tender process with 23 coming from the international while six were locals, representing a 24 percent attendance.
Buyers that participated at the ZCDC Tender 3 were drawn from United Arab Emirates, India, Israel, Belgium, Canada, Hong Kong, Namibia and South Africa.
ZCDC conducted its first diamond in February this year which raked in US$829 067.
Minister Chitando said the recently concluded sale comes after ZCDC had temporarily exited the market in February 2018 to allow for the development and implementation of an effective diamond value management framework and establishment of a robust marketing and sales strategy.
The new marketing and sales framework will see ZCDC conducting regular diamond sales tenders locally through MMCZ, creating contract selling arrangements for big parcels and ensuring market diversity by exploring lucrative selling opportunities in Antwerp, Dubai and Shanghai, among other key markets.


text:
Bosnians protest Croatian plans for nuclear waste facility
SARAJEVO, Bosnia-Herzegovina (AP) — Hundreds of Bosnians on Friday rallied against plans by neighboring Croatia to store part of the waste from the region's only nuclear plant near its border with Bosnia and the area's main river, which is known for its natural beauty. The protesters in the...
FILE - In this July 14, 2018, file photo, a sign warns of a falling danger on the crest of Yucca Mountain during a congressional tour near Mercury, Nev. Nevada's governor and congressional delegation say recent earthquakes should make the U.S. Energy Department look again at seismic risks at a site eyed as the place to bury the nation's nuclear waste, Wednesday, July 17, 2019. (AP Photo/John Locher, File)
Nevada: Feds should restudy seismic risk at nuke dump site
LAS VEGAS (AP) — Nevada's governor and congressional delegation are pointing to earthquakes this month in the California desert and calling for the U.S. Energy Department to look again at seismic risks of burying the nation's most radioactive nuclear waste at a site in the Mojave Desert. In a...
LAS VEGAS (AP) — Nevada's governor and congressional delegation are pointing to earthquakes this month in the California desert and calling for the U.S. Energy Department look again at seismic risks of burying the nation's most radioactive nuclear waste at a site in the Mojave Desert. In a opinions...
FILE - This Sept. 13, 2012, file photo shows the San Onofre nuclear power plant along the Pacific Ocean coastline in San Onofre, Calif. Southern California's San Onofre nuclear power plant was permanently closed in 2013, but the site remains home to 3.5 million pounds of nuclear waste that has nowhere else to go. Members of a House subcommittee held a hearing Friday, June 7, 2019, not far from the defunct plant to highlight the urgency behind efforts to build a long-term national repository for used radioactive fuel, a proposal that has languished for decades in Washington. (AP Photo/Gregory Bull, File)
House panel highlights risks over nuclear-storage stalemate
LAGUNA NIGEL, Calif. (AP) — Southern California's San Onofre nuclear power plant was permanently closed in 2013, but the site remains home to 3.5 million pounds (1.59 million kilograms) of nuclear waste that has nowhere else to go. Members of a House subcommittee held a hearing Friday not far from...
FILE - In this July 14, 2018, file photo, a sign warns of a falling danger on the crest of Yucca Mountain during a congressional tour Saturday, July 14, 2018, near Mercury, Nev. Nevada's long crusade to block the creation of a national nuclear-waste dump at Yucca Mountain has pitted it against a bipartisan group of lawmakers across the country, but a band of presidential hopefuls are joining the early voting state's cause. (AP Photo/John Locher, File)
Presidential candidates join Nevada's nuclear waste fight
LAS VEGAS (AP) — Nevada's long crusade to block the creation of a national nuclear-waste dump at Yucca Mountain has pitted the state against a bipartisan group of lawmakers across the country, but a band of presidential hopefuls is joining the early voting state's cause. Nevada's senior senator,...
Energy Secretary Rick Perry pauses while speaking during a House Appropriations subcommittee hearing on budget on Capitol Hill in Washington, Tuesday, March 26, 2019. (AP Photo/Andrew Harnik)
Perry defends plan for Nevada nuclear-waste storage site
WASHINGTON (AP) — Energy Secretary Rick Perry on Tuesday defended the Trump administration's plans to collect and store nuclear waste from around the country in a site northwest of Las Vegas, saying that the current system of scattered storage sites in dozens of states was unacceptable. Perry held...
March 26, 2019 - 10:42 am
California utility fined for its handling of nuke canisters
SAN ONOFRE, Calif. (AP) — The Nuclear Regulatory Commission is fining the Southern California Edison utility $116,000 for violations in its handling of nuclear canisters at the shuttered San Onofre Nuclear Generating Station. The decision announced Monday in an online town hall meeting involves the...
FILE - The first load of nuclear waste arrives in this March 26, 1999 file photo, at the Waste Isolation Pilot Plant (WIPP) site in Carlsbad, N.M., from Los Alamos National Laboratory. Twenty years and more than 12,380 shipments later, tons of Cold War-era waste from decades of bomb-making and nuclear research across the U.S. have been stashed in the salt caverns that make up the underground facility. (AP Photo/Thomas Herbert)
US underground nuclear waste dump explained
ALBUQUERQUE, N.M. (AP) — It wasn't long after the atomic bomb was dropped on Japan and World War II ended that the United States began to realize it had to do something with the waste that was being generated by defense-related nuclear research and bomb-making that would continue through the Cold...
FILE - This March 6, 2014, file photo shows the idled Waste Isolation Pilot Plant, the nation's only underground nuclear waste repository, near Carlsbad, N.M. Shipments of waste to the repository resumed in April 2017 for the first time since a 2014 radiation release contaminated part of the facility. (AP Photo/Susan Montoya Bryan, File)
First-of-its-kind US nuclear waste dump marks 20 years
ALBUQUERQUE, N.M. (AP) — In a remote stretch of New Mexico desert, the U.S. government put in motion an experiment aimed at proving to the world that radioactive waste could be safely disposed of deep underground, rendering it less of a threat to the environment. Twenty years and more than 12,380...


text:
The Resource Ten years after the 2001 Authorization for Use of Military Force : current status of legal authorities, detention, and prosecution in the War on Terror : Committee on Armed Services, House of Representatives, One Hundred Twelfth Congress, first session, hearing held July 26, 2011
Ten years after the 2001 Authorization for Use of Military Force : current status of legal authorities, detention, and prosecution in the War on Terror : Committee on Armed Services, House of Representatives, One Hundred Twelfth Congress, first session, hearing held July 26, 2011
The item Ten years after the 2001 Authorization for Use of Military Force : current status of legal authorities, detention, and prosecution in the War on Terror : Committee on Armed Services, House of Representatives, One Hundred Twelfth Congress, first session, hearing held July 26, 2011 represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in University of San Diego Libraries.
United States, Congress | House | Committee on Armed Services.
United States, Congress | House | Committee on Armed Services
Washington, U.S. G.P.O., 2011
Paper version available for sale by the Supt. of Docs., U.S.G.P.O
"H.A.S.C. no. 112-53."
Ten years after the 2001 Authorization for Use of Military Force
current status of legal authorities, detention, and prosecution in the War on Terror : Committee on Armed Services, House of Representatives, One Hundred Twelfth Congress, first session, hearing held July 26, 2011
10 years after the 2001 Authorization for Use of Military Force
Authorization for Use of Military Force (United States)
Cuba -- Guantánamo Bay Naval Base
Detention of persons
Detention of persons -- Cuba | Guantánamo Bay Naval Base
Detention of persons -- Government policy
Detention of persons -- Government policy -- United States
Military courts
Military courts -- United States
Qaida (Organization)
Terrorism -- Prevention | Law and legislation
Terrorism -- Prevention | Law and legislation -- United States
Trials (Terrorism)
Trials (Terrorism) -- United States
War and emergency powers
War and emergency powers -- United States
War on Terrorism, 2001-2009
War, Declaration of
War, Declaration of -- United States
HeinOnline U.S. Congressional Documents Library
.A7 2011r ONLINE
552-070-43926-9
Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002.

 Data from Ten years after the 2001 Authorization for Use of Military Force : current status of legal authorities, detention, and prosecution in the War on Terror : Committee on Armed Services, House of Representatives, One Hundred Twelfth Congress, first session, hearing held July 26, 2011 - University of San Diego Libraries

Data Citation of the Item Ten years after the 2001 Authorization for Use of Military Force : current status of legal authorities, detention, and prosecution in the War on Terror : Committee on Armed Services, House of Representatives, One Hundred Twelfth Congress, first session, hearing held July 26, 2011


"Don't let anyone take away your hope." Back in 2012 Al Gore enshrined that phrase onto the hearts of one thousand of us from 68 countries gathered in San Francisco to become Climate Reality Corp. Leaders. Now, six years and countless presentations later, in 2018, they'll be over two thousand of us from over 100 countries gathering in Los Angeles for a massive training and conference where I'll be honored to serve as a Mentor.
Much has changed since my last Climate Reality Project conference and much has stayed the same. Mother Nature is a powerful lobbyist and many more are waking up to these "Inconvenient Truths". The world has witnessed that turning a blind eye to the increasing climate crisis hasn't lessened the devastation. A hurricane, or wildfire, or drought, or famine, or storm surge, or mudslide, or heatwave, or flood, or endangered species, doesn't care about one's political party affiliation, gender, ethnicity, or socioeconomic status, it just leaves a path of devastation. Though it's true that those with the largest carbon footprint are often the most resilient to the effects of climate change, which of course deepens the social injustice.
One thing that hasn't changed for me is my commitment to keep working to engage, educate, and inspire as many people as possible to do what we can to make a positive difference in our world. So yes Al, I'll never let anyone take away my hope. How about you? We're all indigenous to Mother Earth. It's our home, shouldn't we try?


text:
Q: javascript closures and local variable 'remembering' Question is about JS closures. I have red the definitions and examples of it, and I believe I fairly understand the mechanism. So, the question is about specific thing I do not understand.
Please consider following two codes.
Code 1:
function a(){
let x = 5;
return function b(y){
    x=x+y;
    return x;
};
}

let c = a();
let d = c(3);
let e = c(4);
console.log(d);  // logs 8
console.log(e);  // logs 12

Code 2:
function a(){
let x = 5;
return function b(y){
    x=x+y;
    return x;
};
}

let d = a()(3);
let e = a()(4);
console.log(d);  //logs 8
console.log(e);  //logs 9

Question: In code 1 x changes its value and the new value is saved in a closure. In code 2 x changes its value and the new value is not saved. Why is that?

A: It's because in the second example, you're calling a a second time, while in the first one a is only called once. Each time you call a, the value of x is initialised as 5. It is the inner function which is returned which creates the closure, and the value of x is remembered between invocations of that function. But each time you return a new function from a, it initially has access to an x which holds the value 5.


How To : Create Rosalie Cullen's side braid from "Eclipse"
This tutorial is a short Hello World tutorial on setting up the free IDE Eclipse w/ Pydev extension on the Intel Mac OSX. Shows you how to quickly setup and get developing with Python.
How To : Create Bella's makeup look from "Twilight: Eclipse"
In this tutorial, get the makeup look from the highly anticipated third part in the "Twilight" movie series: "Eclipse". Kristen Stewart plays Bella Swan, the lovesick heroine of the series. In this clip, duplicate Kristen's look as Bella and get a dewey, romantic and soft style.
Want to write ColdFusion within Eclipse? If so, you're in luck: In this video tutorial, will walk you through the installation process for both both Eclipse and CFEclipse, a plug-in ColdFusion IDE for Eclipse. To learn more about installing CFEclipse CFML plugin, press play!
In this tutorial, learn how to get a messy sideways French braid like Kristen Stewart wore on the red carpet for the New York City premiere of Twilight: Eclipse. Get Bella's real life locks with this how to clip and try out this sweet summer style.
Here is the movie trailer for "The Twilight Saga : Eclipse" Here is the theatrical trailer for "The Twilight Saga : Eclipse"


There could be several reasons for your hose reel not retracting.
If the reel is mounted above 5 metres (17ft) the drive spring may not have enough strength to retract the weight of the hose. You will need to reduce the height of the mounted reel or contact customer services with your model and serial numbers of the reel so we can advise on how best to remedy the problem as the procedure may change depending on on model.
If a flexible connection to the hose reel is not used, you will cause excessive binding to the main shaft and hub bearings causing the reel not to retract or create possible leaking.
Please contact customer services with your model and serial numbers of the reel so we can advise on how best to re-tension the reel and remedy the problem as the procedure can change depending on model.
There could be several reasons for your hose reel swivel to leak.
Extremely cold conditions can sometimes cause the swivel assembly to crack.
Please contact us to arrange a new swivel assembly.
This could mean there is a broken latch spring, a bent latch pawl or latch plate.
The broken part(s) will need to be replaced. Please contact customer services with your model and serial number of the reel so we can advise on how best to remedy the problem as the procedure may change depending on model.
How do I change my hose on my spring rewind reel?
We do not recommend hose replacements on spring rewind reels without consulting a qualified engineer.


text:
Netflix And Comcast Sign Agreement To End Bandwidth Throttling
By Tyler Lee, on 02/23/2014 16:15 PST
For those unfamiliar with net neutrality, it's basically where service providers aren't allowed to discriminate between bandwidths, meaning that if there is a service that an ISP or telco would like to promote, they cannot do so at the expense of regular bandwidth which could affect the speed and experience of their paying customers. Unfortunately a recent federal court ruling has basically struck down the net neutrality rules placed by the FCC, which meant that as far as Netflix customers are concerned, there have been many complains about a decline in streams. The good news is that could soon come to an end, thanks to Netflix entering into an agreement with Comcast, according to a report from The Wall Street Journal.
According to the report, Netflix and Comcast have entered into an agreement where Comcast will no longer throttle the bandwidth of Netflix, and will also see Netflix pay Comcast an undisclosed sum of money to have a direct link to the ISP. Apparently Netflix had requested that their servers be placed within Comcast's data centers itself to take advantage of video caching, while previously Netflix had relied on third parties, such as Cogent, to deliver their data to Comcast in order to stream their videos. It should be noted that this does not mean that customers will have to start paying more for their services. Basically what is happening is that instead of paying Cogent, they are now directly paying Comcast instead.
Filed in General. Read more about Netflix.
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