text:
Participants share and examine ideas about neighbourhood renewal. | Alita Rickards
Residents share ideas during city workshop
Alita Rickards
# Alberta Avenue
Participants at the Alberta Avenue Community Walk and Ideas Workshop on Feb. 10 appreciated the mild – 6 C weather since everyone had ideas about how to renew Alberta Avenue's mature neighbourhood.
The high level of public engagement is what City of Edmonton project managers had hoped for.
"A big part of the walk is that it's so great to see first-hand, and it sparks these natural conversations," said Debbie Cashion-Kalinowski, city project manager. "We get a better understanding because we see it too."
Thought bubbles full of ideas about neighbourhood renewal. | Alita Rickards
Terry Ferguson was unable to join the walk around the community because of a lack of curb ramps. | Alita Rickards
Mélanie Légaré and husband Jermaine Smith have different ideas about the renewal of Alberta Avenue. | Alita Rickards
Alberta Avenue's neighbourhood renewal is scheduled to last twice as long as most neighbourhoods due to its size. Work on residential roads, sidewalks, and other potential upgrades will be ongoing from spring 2019 to fall 2022.
"The best benefit is to make it more community friendly," said Emily Zukowski, city project manager. "Small perks we can add to make life more enjoyable, or big perks depending on the budget."
The city will invest approximately $60 million, with sidewalk reconstruction split equally between homeowners and the municipality.
Workshop organizers held activities to help participants share their ideas, including walking around Alberta Avenue, creating speech bubbles, collaborating on envisioning projects, and sketching how they might look.
One idea was to make St. Faith Park an official dog park by closing off each end (it's already being used by pooches informally).
Terry Ferguson, who uses a motorized scooter, said that because of the lack of curb ramps, her mobility is limited, forcing her to detour to find ways to cross the street.
"I want to see everyone in Alberta Ave have wheelchair ramps at both ends [of sidewalks]," Ferguson said.
Cora Shaw, a long-time resident who uses a walker, agreed with Ferguson.
"Accessibility is a big one, being able to walk the community. When you have no ramps it's difficult to maneuver," Shaw said.
Other participants voiced their interest in local art and culture.
"There's a lot of rich history. Seeing statues and plaques in the parks to talk about the history and pay homage to the art culture, [and] have art pieces from local artists would make walking more interesting," said Jermaine Smith.
His wife, Mélanie Légaré, voiced the practical worries of many women in the area.
"The biggest thing is connectivity to get places. The bus stop to my home doesn't feel super safe because there's not enough lighting."
Gérard Forget, community garden coordinator for Alberta Avenue, had another concern: "I'm very much into trying to improve social issues and incorporate this into the planning of the infrastructure. What would deter the johns and drug dealers?"
Others want improved or new bike lanes, with a potential shared use path along 96 Street.
But the renewal program doesn't address alleys.
"A new program will be coming in to look at that. You can't rip out the entirety of a neighbourhood. Folks still need to live there while all this is going on," said Cashion-Kalinowski.
The workshop fulfilled some of what Cashion-Kalinowski was hoping for: "There's an opportunity to talk and get to know neighbours," she said.
Stay tuned for further involvement at edmonton.ca/BuildingAlbertaAvenue. More info at edmonton.ca/localimprovements.
Featured Image: Participants share and examine ideas about neighbourhood renewal. | Alita Rickards
Powwow dancing is a great way to stay fit
Patricia Dunnigan
Learn new things in a stress-free environment


text:
Q: Modifying my javaScript regex to accept forward slashes I took a regex for evaluating urls which works nicely but I want to use it to evaluate facebook accounts. For example www.facebook.com/myname.
How this regex doesn't like the forward slash after .com.
.directive('validateTheUrl', function() {
                // hey chaps this is the new ng 1.3 way to custom validtae stuff.....

                    var REQUIRED_PATTERNS = [/^(?:(ftp|http|https)?:\/\/)?(?:[\w-]+\.)+([a-z]|[A-Z]|[0-9]){2,6}$/];

        return {
            require: 'ngModel',
            link: function ($scope, element, attrs, ngModel) {
                ngModel.$validators.theUrl = function (value) {
                    var status = true;
                    angular.forEach(REQUIRED_PATTERNS, function (pattern) {
                        status = status && pattern.test(value);
                        console.log(status);
                        console.log(value);
                    });
                    return status;
                };
            }
        }
    })

Does anyone know how I would update the regex?

A: Simply append to the regex pattern to accept a forward slash after the .com
[/^(?:(ftp|http|https)?:\/\/)?(?:[\w-]+\.)+([a-z]|[A-Z]|[0-9]){2,6}\/[\w-]+$/];

redpajama_set_name: RedPajamaStackExchange


3 Star Hotel with 120 rooms, 10 meeting rooms, 2 Restaurants, 1 Bar and a Spa with 1400m2. Located in the Sierra de Guadarrama, 65 kms from Madrid away. Set in a environmental protected valley, Nayade hotel is the ideal place to spend some days with the family or friends enjoying the nice climate and the activities offered. The Hotel is specialized in Conventions, Congress, Meetings and Incentives.


text:
from functools import wraps, partial
from itertools import product

import numpy as np
from sympy import S, finite_diff_weights, cacheit, sympify

from devito.tools import Tag, as_tuple

class Transpose(Tag):
    """
    Utility class to change the sign of a derivative. This is only needed
    for odd order derivatives, which require a minus sign for the transpose.
    """
    pass

direct = Transpose('direct', 1)
transpose = Transpose('transpose', -1)

class Side(Tag):
    """
    Class encapsulating the side of the shift for derivatives.
    """

    def adjoint(self, matvec):
        if matvec is direct:
            return self
        else:
            if self is centered:
                return centered
            elif self is right:
                return left
            elif self is left:
                return right
            else:
                raise ValueError("Unsupported side value")

left = Side('left', -1)
right = Side('right', 1)
centered = Side('centered', 0)

def check_input(func):
    @wraps(func)
    def wrapper(expr, *args, **kwargs):
        try:
            return S.Zero if expr.is_Number else func(expr, *args, **kwargs)
        except AttributeError:
            raise ValueError("'%s' must be of type Differentiable, not %s"
                             % (expr, type(expr)))
    return wrapper

def check_symbolic(func):
    @wraps(func)
    def wrapper(expr, *args, **kwargs):
        if expr._uses_symbolic_coefficients:
            expr_dict = expr.as_coefficients_dict()
            if any(len(expr_dict) > 1 for item in expr_dict):
                raise NotImplementedError("Applying the chain rule to functions "
                                          "with symbolic coefficients is not currently "
                                          "supported")
        kwargs['symbolic'] = expr._uses_symbolic_coefficients
        return func(expr, *args, **kwargs)
    return wrapper

def dim_with_order(dims, orders):
    """
    Create all possible derivative order for each dims
    for example dim_with_order((x, y), 1) outputs:
    [(1, 0), (0, 1), (1, 1)]
    """
    ndim = len(dims)
    max_order = np.min([6, np.max(orders)])
    # Get all combinations and remove (0, 0, 0)
    all_comb = tuple(product(range(max_order+1), repeat=ndim))[1:]
    # Only keep the one with each dimension maximum order
    all_comb = [c for c in all_comb if all(c[k] <= orders[k] for k in range(ndim))]
    return all_comb

def deriv_name(dims, orders):
    name = []
    for d, o in zip(dims, orders):
        name_dim = 't' if d.is_Time else d.root.name
        name.append('d%s%s' % (name_dim, o) if o > 1 else 'd%s' % name_dim)

    return ''.join(name)

def generate_fd_shortcuts(dims, so, to=0):
    """Create all legal finite-difference derivatives for the given Function."""
    orders = tuple(to if i.is_Time else so for i in dims)

    from devito.finite_differences.derivative import Derivative

    def diff_f(expr, deriv_order, dims, fd_order, side=None, **kwargs):
        return Derivative(expr, *as_tuple(dims), deriv_order=deriv_order,
                          fd_order=fd_order, side=side, **kwargs)

    all_combs = dim_with_order(dims, orders)

    derivatives = {}

    # All conventional FD shortcuts
    for o in all_combs:
        fd_dims = tuple(d for d, o_d in zip(dims, o) if o_d > 0)
        d_orders = tuple(o_d for d, o_d in zip(dims, o) if o_d > 0)
        fd_orders = tuple(to if d.is_Time else so for d in fd_dims)
        deriv = partial(diff_f, deriv_order=d_orders, dims=fd_dims, fd_order=fd_orders)
        name_fd = deriv_name(fd_dims, d_orders)
        dname = (d.root.name for d in fd_dims)
        desciption = 'derivative of order %s w.r.t dimension %s' % (d_orders, dname)
        derivatives[name_fd] = (deriv, desciption)

    # Add non-conventional, non-centered first-order FDs
    for d, o in zip(dims, orders):
        name = 't' if d.is_Time else d.root.name
        # Add centered first derivatives
        deriv = partial(diff_f, deriv_order=1, dims=d, fd_order=o, side=centered)
        name_fd = 'd%sc' % name
        desciption = 'centered derivative staggered w.r.t dimension %s' % d.name
        derivatives[name_fd] = (deriv, desciption)
        # Left
        deriv = partial(diff_f, deriv_order=1, dims=d, fd_order=o, side=left)
        name_fd = 'd%sl' % name
        desciption = 'left first order derivative w.r.t dimension %s' % d.name
        derivatives[name_fd] = (deriv, desciption)
        # Right
        deriv = partial(diff_f, deriv_order=1, dims=d, fd_order=o, side=right)
        name_fd = 'd%sr' % name
        desciption = 'right first order derivative w.r.t dimension %s' % d.name
        derivatives[name_fd] = (deriv, desciption)

    return derivatives

def symbolic_weights(function, deriv_order, indices, dim):
    return [function._coeff_symbol(indices[j], deriv_order, function, dim)
            for j in range(0, len(indices))]

@cacheit
def numeric_weights(deriv_order, indices, x0):
    return finite_diff_weights(deriv_order, indices, x0)[-1][-1]

def generate_indices(func, dim, order, side=None, x0=None):
    """
    Indices for the finite-difference scheme

    Parameters
    ----------
    func: Function
        Function that is differentiated
    dim: Dimension
        Dimensions w.r.t which the derivative is taken
    order: Int
        Order of the finite-difference scheme
    side: Side
        Side of the scheme, (centered, left, right)
    x0: Dict of {Dimension: Dimension or Expr or Number}
        Origin of the scheme, ie. `x`, `x + .5 * x.spacing`, ...

    Returns
    -------
    Ordered list of indices
    """
    # If staggered finited difference
    if func.is_Staggered and not dim.is_Time:
        x0, ind = generate_indices_staggered(func, dim, order, side=side, x0=x0)
    else:
        x0 = (x0 or {dim: dim}).get(dim, dim)
        # Check if called from first_derivative()
        ind = generate_indices_cartesian(dim, order, side, x0)
    return ind, x0

def generate_indices_cartesian(dim, order, side, x0):
    """
    Indices for the finite-difference scheme on a cartesian grid

    Parameters
    ----------
    dim: Dimension
        Dimensions w.r.t which the derivative is taken
    order: Int
        Order of the finite-difference scheme
    side: Side
        Side of the scheme, (centered, left, right)
    x0: Dict of {Dimension: Dimension or Expr or Number}
        Origin of the scheme, ie. `x`, `x + .5 * x.spacing`, ...

    Returns
    -------
    Ordered list of indices
    """
    shift = 0
    # Shift if x0 is not on the grid
    offset_c = 0 if sympify(x0).is_Integer else (dim - x0)/dim.spacing
    offset_c = np.sign(offset_c) * (offset_c % 1)
    # left and right max offsets for indices
    o_start = -order//2 + int(np.ceil(-offset_c))
    o_end = order//2 + 1 - int(np.ceil(offset_c))
    offset = offset_c * dim.spacing
    # Spacing
    diff = dim.spacing
    if side in [left, right]:
        shift = 1
        diff *= side.val
    # Indices
    if order < 2:
        ind = [x0, x0 + diff] if offset == 0 else [x0 - offset, x0 + offset]
    else:
        ind = [(x0 + (i + shift) * diff + offset) for i in range(o_start, o_end)]
    return tuple(ind)

def generate_indices_staggered(func, dim, order, side=None, x0=None):
    """
    Indices for the finite-difference scheme on a staggered grid

    Parameters
    ----------
    func: Function
        Function that is differentiated
    dim: Dimension
        Dimensions w.r.t which the derivative is taken
    order: Int
        Order of the finite-difference scheme
    side: Side
        Side of the scheme, (centered, left, right)
    x0: Dict of {Dimension: Dimension or Expr or Number}
        Origin of the scheme, ie. `x`, `x + .5 * x.spacing`, ...

    Returns
    -------
    Ordered list of indices
    """
    diff = dim.spacing
    start = (x0 or {}).get(dim) or func.indices_ref[dim]
    try:
        ind0 = func.indices_ref[dim]
    except AttributeError:
        ind0 = start
    if start != ind0:
        ind = [start - diff/2 - i * diff for i in range(0, order//2)][::-1]
        ind += [start + diff/2 + i * diff for i in range(0, order//2)]
        if order < 2:
            ind = [start - diff/2, start + diff/2]
    else:
        ind = [start + i * diff for i in range(-order//2, order//2+1)]
        if order < 2:
            ind = [start, start - diff]

    return start, tuple(ind)

def make_shift_x0(shift, ndim):
    """
    Returns a callable that calculates a shifted origin for each derivative
    of an operation derivatives scheme (given by ndim) given a shift object
    which can be a None, a float or a tuple with shape equal to ndim
    """
    if shift is None:
        return lambda s, d, i, j: None
    elif isinstance(shift, float):
        return lambda s, d, i, j: d + s * d.spacing
    elif type(shift) is tuple and np.shape(shift) == ndim:
        if len(ndim) == 1:
            return lambda s, d, i, j: d + s[j] * d.spacing
        elif len(ndim) == 2:
            return lambda s, d, i, j: d + s[i][j] * d.spacing
        else:
            raise ValueError("ndim length must be equal to 1 or 2")
    raise ValueError("shift parameter must be one of the following options: "
                     "None, float or tuple with shape equal to %s" % (ndim,))

redpajama_set_name: RedPajamaGithub


This is a study of liposomal bupivacaine for pain control in patients with blunt chest wall trauma.
The purpose of this study is to evaluate the efficacy of liposomal bupivacaine to provide analgesia via paravertebral intercostal nerve block following significant blunt chest trauma, minimizing adverse outcomes, length of stay and overall narcotic use. The primary outcome of the study is to compare requirements between the bupivacaine group and a standard-of-care group.
Development of pneumonia defined as >100,000 cfu/mL bacteria on bronchoalveolar lavage or clinically with leukocytosis, pulmonary infiltrate and fever with 96 hours post-randomization.
Self-reported pain will be measured using the verbal NRS, a 0-10 ordinal scale. Pain assessments will occur every 6 hours or per standard of care for the appropriate setting (e.g., intensive care unit, trauma ward) for the first 96 hours of hospital stay.


text:
Thanos, Wolverine, and Sub-Zero hit stores this week
By Robot Overlord on	 May 28, 2020 0 Comments
Diamond Select Toys has a number of new statues arriving this week, including a giant Thanos bust.
Legends in 3-D Movie Avengers Endgame Thanos ½-Scale Bust
A Diamond Select Toys release! This bust was inevitable! The massive, half-scale Legends in 3D line continues with none other than Thanos, intergalactic despot and wielder of the Infinity Gauntlet! Based on his appearance in Avengers: Endgame, this approximately 11-inch bust is limited to only 1,000 pieces and includes a certificate of authenticity in a full-color box. Designed by Joe Allard, sculpted by Rocco Tartamella. (Item #OCT192542, SRP: $175.00)
https://shop.diamondselecttoys.com/legends-in-3-d-movie-avengers-endgame-thanos-scale-bust
Marvel Animated X-Men Wolverine Bust
A Diamond Select Toys release! Ripped from the screen in the 1990s, this resin bust captures Wolverine as he appears in the classic X-Men the Animated series! With his claws and teeth bared, Wolverine is ready for action in this approximately 6-inch bust, featuring detailed sculpting and paint applications inspired by the animation style of the show. Limited to only 3,000 pieces, it comes packaged in a full-color box with a certificate of authenticity. Designed by Barry Bradfield, sculpted by Joe Menna. (Item #SEP192492, SRP: $59.99)
https://shop.diamondselecttoys.com/marvel-animated-x-men-wolverine-bust
Legends in 3D Video Game Mortal Kombat Sub Zero ½ Scale Bust
A Diamond Select Toys release! Fatality! This killer bust of Sub-Zero is the next release in the Legends in 3D line of half-scale busts! Measuring approximately 10 inches tall, the bust features detailed sculpting and paint applications, and is limited to only 1000 pieces. Packaged with a certificate of authenticity in a hand-numbered, full-color box. Designed by Joe Allard, sculpted by Salvador Gomes. (Item #SEP192490, SRP: $150.00)
https://shop.diamondselecttoys.com/legends-in-3d-video-game-mortal-kombat-sub-zero-scale-bust
via Diamond Select Toys
Diamond Select Toys Mortal Kombat Solicitations statues Sub-Zero Thanos Wolverine
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redpajama_set_name: RedPajamaCommonCrawl


Aamar Aami is a 2014 Indian Bengali romance film released on Oct 12, 2014. The film is directed by Orko Sinha, produced by Orko Sinha. Aamar Aami is a story of a turbulent time of our city where everything is changing rapidly. It Check out this page for more updates on Aamar Aami.
This page provides latest and updated information about Aamar Aami (2014) movie which released on Oct 12, 2014. Aamar Aami (2014) is directed by , produced by , starring .We have also provided 5 trailers and videos, 0 photos, 0 user reviews, and 0 critic reviews.You can review, like, dislike this movie and also can add to favorites. You can also find information on showtimes, CDs, DVDs, online rental, online free watching.


text:
Keywords: Discrimination
DG JUST - DG for Justice and Consumers
The Commission's Directorate-General for Justice and Consumers is responsible for EU policy on justice, consumer rights and gender equality. Newsletter on the rights of the child
One stop shop: Tolerant, inclusive and pluralistic societies: A guide to EU initiatives and funding
DG JUST of the European Commission have undertaken a mapping exercise to identify the financial programmes, legislation and concrete projects in the broad area of tolerance,...
FRA - European Union Agency for Fundamental Rights
The European Union Agency for Fundamental Rights (FRA) is the EU's centre of fundamental rights expertise. It is one of the EU's decentralised agencies. These agencies are set...
Database on anti-Muslim hatred
This database provides information on significant international; European and national case law and rulings; UN human rights body decisions; reports; findings by human rights...
EU-MIDIS II: Second European Union Minorities and Discrimination Survey
The survey is based on face-to-face interviews with 25;515 respondents with different ethnic minority and immigrant backgrounds across all 28 EU Member States. The survey was...
Dataset ID: MIDIS
FRA's regular overviews of migration-related fundamental rights concerns
In view of the increased numbers of refugees; asylum seekers and migrants entering the EU; FRA publishes monthly reports highlighting key developments about the fundamental...
Dataset ID: overviews
FRA Data explorer
Interactive data explorer that provides quick access to data compiled by FRA.
FRIM: Fundamental rights situation of irregular immigrants in the European Union
to examine key aspects of the situation of irregular immigrants in the European Union, in order to assess the extent to which their fundamental rights are respected and...
FRIDA: Prevention and detection of racism, xenophobia and related intolerance at school
To transform schools into inclusive spaces based on democratic values and community involvement; to prevent and tackle hate crime, discrimination and intolerance; to train...
Pandora: Prevention and detection of racism, xenophobia and other intolerance in the field of health
This item has no description
CoE - Council of Europe
The Council of Europe advocates freedom of expression and of the media, freedom of assembly, equality, and the protection of minorities. It has launched campaigns on issues such...
EU High Level Group on combating racism, xenophobia and other forms of intolerance
The High Level Group on combating racism, xenophobia and other forms of intolerance will foster the further exchange and dissemination of best practices between national...
ECRI - European Commission against Racism and Intolerance
ECRI is a human rights body of the Council of Europe, composed of independent experts, which monitors problems of racism, xenophobia, antisemitism, intolerance and...
Migrant Integration Policy Index (MIPEX)
The Migrant Integration Policy Index (MIPEX) is a unique tool which measures policies to integrate migrants in all EU Member States, Australia, Canada, Iceland, Japan, South...
MPG - Migration Policy Group
The Migration Policy Group is an independent non-profit European organisation dedicated to strategic thinking and acting on equality and mobility. The two areas are related and...
Trajectories and Origins survey
Survey on population diversity in France. The TeO survey aims to identify the impact of origins on living conditions and social trajectories while taking account of other...
INED
Dataset ID: TeO
INED - Institut national d'études démographiques
French national institute of Demographic Studies. Topics: couples; family; sexuality; birth; fertility; contraception; life expectancy; mortality; health; world migration;...
Hate Crime Data
The 2016 data include information on 44 participating States; including disaggregated official hate crime statistics for 18 countries and a detailed overview of how 34...
ODIHR ; OSCE
GRITIM-UPF - Interdisciplinary Research Group on Immigration -Universitat Pompeu Fabra
GRITIM-UPF is an Interdisciplinary Research Group on Immigration at the department of political and social sciences at Universitat Pompeu Fabra (Barcelona, Catalonia). It is...
NL-MSJ - Ministry of Security and Justice (NL)
The Ministry of Security and Justice is responsible for maintaining the rule of law in the Netherlands, so that people can live together in freedom, regardless of their...
web portal (3)
DGs & EU Agencies (2)
Legal migration and... (19)
FRA (9)
CoE (3)
DG JUST (3)
INED (2)
ODIHR (2)
OSCE (2)
CEPS (1)
CIDOB (1)
Fundamental rights (5)
expert network (1)


Chips have always been delicious.
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Smokey, backyard-BBQ flavor on a baked, savory chip. Bite into bold, BBQ flavor with a whopping 21g healthy protein and only 5g total carbs per bag.
Tangy cheddar cheese and cool sour cream blend together for a delightfully sharp flavor you'll love!
Protein Blend (Whey Protein Isolate, Milk Protein Isolate), Dried Potatoes, Corn Starch, High Oleic Sunflower Oil. Contains less than 2% of the following: Sea Salt, Calcium Carbonate, Natural Flavors.
Allegern Warning: Contains Milk-Derived Ingredients.


text:
When Should You Begin Financial Planning for Studying Abroad?
Top 4 Tips for Acing GRE Sentence Equivalence Questions
GRE Diagnostic Test
GMAT : 730
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Canada Calling! Study in Canada
September 18, 2018 / Parmita / 0 Comments
What's common between a BlackBerry and an egg carton?
They were both invented in Canada! A country where talent and ingenuity are respected and students from all over the world are welcome. Canada is fast turning into the country of choice for more and more Indians because of a superior standard of living and of course, the presence of one of the largest Indian diaspora anywhere in the world. Here are some reasons for studying and working in Canada:
World Class Universities to Study in Canada
Canada is home to some of the world's top-class universities with at least 4 of them featuring high in the global top 100 of QS World University Rankings 2019. These universities offer cutting-edge programs in medicine, telecommunications, computer engineering and environmental science, in addition to great research facilities. Professors who are at the top of their field, are easily approachable.
Universities such as the University of Toronto, McGill University and University of British Columbia accept international students through GMAT/GRE. An IELTS/TOEFL score is required too in order to prove your proficiency in the English language. Always check university websites for eligibility requirements specific to programs.
Financial Assistance and Scholarships
Tuition fee for full-time engineering programs in Canadian universities lie around $50,000 a year. International students are also required to purchase student health insurance costing around $600 per year. You will be automatically considered for award of scholarships when you apply. The scholarship amount varies from $5,000 to $20,000 every year. Check out the website of the university that you are interested in for more details. You can also go through educanada.ca for more information on financial assistance and scholarships.
Good industry-academia tie-ups ensure that most deserving students get placed within 3 months of their graduation. Full-time students with a valid study permit are allowed to work both on and off the campus during their course.
Once you graduate, you can apply for a work permit. Under the Post-graduation Work Permit (PGWP) program, an international student should apply for a work permit within 90 days of graduation. The work permit allows you to stay and gain work experience for a period of up to 3 years after you have graduated from a program. Work permit paves the way for permanent residence in Canada.
Student-friendly Cities
With good quality and safe accommodation available at affordable rates to students, Canada is home to many student-friendly cities. In case you can't get on-campus accommodation, there are many homestays and shared apartments in cities such as Toronto which would cost you $700 upwards a month. If you plan to cook your own food, grocery costs would lie around $40 per week. Given the exchange rates (CAD$1=55 INR), this is significantly lesser than the cost of living in metropolitan cities of US (above US$ 1900 for New York) or UK (around £2000 for London). Moreover, international students enjoy the same freedoms as do Canadians in addition to respect for human rights, equality and a peaceful society.
Cross-Cultural Experience
Canada has a culture of diversity and tolerance. The same is reflected in its higher education milieu. You get to meet different people and get to learn languages, traditions, values and viewpoints leading to the development of intercultural competencies that help you manage the challenges of a global workplace.
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ERCIM is based on a model of one member per country, each acting as a node linking academia and industry in that country and - via the other ERCIM members - to other countries. ERCIM can be envisaged as a high-speed linking network connecting and supporting researchers across Europe. ERCIM is open to anyone wishing to participate in the thematic working groups and the related workshops and R&D projects, or wishing to publish in ERCIM News, all via the relevant national member or the Office.
Based upon this robust structure, ERCIM has helped develop and support European-centric multinational communities of high quality in particular subject domains within ICT and applied mathematics. These communities have achieved significant, high-quality, cooperative research across academia and industry from 'blue sky' research to highly applied development. To take just a few examples in which ERCIM has played a major role: digital libraries (DELOS, DILIGENT, D4Science, DRIVER); Grids (CoreGRID, GRIDCOMP, TrustGRID, ECHOGRID); WWW (projects leading to SMIL standard, SVG standard and early work on database/Web interfaces); trust Security and privacy (TRUSTCOM, i-TRUST, GRIDTRUST, PRIME); heterogeneous distributed database integration; software engineering including formal methods across embedded and wide-scale platforms; and user interfaces (UI4ALL, SESAME). This has extended into many application areas, examples being: biomedical (ACGT, VPH); environmental (DECAIR, THETIS, SIMES, CRUCID, TELEMAC, ANFAS); educational, cultural and multimedia (AQUARELLE, VITALAS, MUSCLE, PALETTE).
ERCIM has put in place an ambitious postdoctoral fellowship programme hosted across ERCIM institutes, to increase European cohesion and the supply of well-trained and experienced researchers. The Cor Baayen award for a promising young is given based on open competition Europe-wide and thus encourages young researchers.
ERCIM focuses the experience and ideas from a wide European constituency and, informed also by international interactions outside Europe, provides advice on strategic directions in ICT and applied mathematics to the European Commission (BEYOND-THE-HORIZON, INTERLINK) and other organizations. ERCIM has undertaken consultancy contracts for the EC, and has acted as the EU representative in workshops and discussions with the USA NSF (National Science Foundation). Past activities have involved the Mediterranean region, with more recent activities focusing on India and China. Senior ERCIM researchers have acted as experts for the EC on strategic issues (eg GRIDs) and as reviewers.
ERCIM News - which is very widely read (in print and online) and which attracts influential personalities to write the foreword of each issue - has become the 'must read' publication in ICT and applied mathematics R&D in Europe (and beyond). The ERCIM Web site has a high page ranking and is much visited, giving ERCIM a high publicity profile.
To ensure the relevance and quality of our work, ERCIM has set up an external advisory committee of independent highly respected members of the international community to advise the President and Board of Directors. ERCIM has set up strategic partnerships with ETSI (European Telecommunications Standards Institute) and EMS (European Mathematical Society), with early tangible results (the Infinity Initiative seminar series and a special issue of ERCIM News respectively) and evolving plans evident in each case.
ERCIM took over from INRIA the responsibility as European host of the W3C (World Wide Web Consortium), and is contributing strongly to the development of the Web in both technology leading to standards and the increasing utilization and take-up in Europe through awareness, education and support.
ERCIM has in recent years emphasised innovation, and knowledge and technology transfer, building upon the more than 200 spin-out companies from ERCIM members and associated products and patents. A strategic seminar programme engages with industry on topics in which ERCIM can offer research and development expertise. A new publication, 'ERCIM Innovation', showcasing ERCIM R&D offerings but also containing articles on related issues such as venture capital and market analysis, was launched at the EC ICT2008 Conference. A network of innovation and knowledge transfer experts among ERCIM members, overlaid on the network of researchers focused through ERCIM, assists in the Europe-wide take-up of research from any one (or more) members for wealth creation and improvement in the quality of life. Furthermore, our work with W3C and ETSI allows early standardization of R&D, leading to a larger stable market for products and services.
While achievements mentioned above provide the bare facts, behind these achievements are the people who make ERCIM what it is. I have the honour of following in the footsteps of a sequence of distinguished presidents, each of whom brought their own energy and style to the advancement of ERCIM. We now have a clear management structure. The Board of Directors considers strategic issues and represents the top management of the member organizations. It has Strategy Task Groups on Structure, External Relations and Innovation, each led by a vice-president. The Executive Committee manages the operational aspects of ERCIM and has Task Groups covering Finance, Projects, Human Resources and Public Relations. The Executive Committee coordinates three important aspects of ERCIM: the Working Groups, which run workshops, build communities and have research projects; the Editorial Board, which produces ERCIM News; and the ERCIM Office, which supports all areas of ERCIM activity including the management of projects.
The past twenty years have seen amazing advances. We have moved from kilobit to gigabit communication bandwidths. We have seen the widespread adoption of personal devices from laptops to mobile phones connected anywhere. Sensor networks have appeared and data volumes have increased dramatically. Hardware costs have decreased and software costs increased. Systems and software engineering techniques have developed relatively little. The World Wide Web provided a stunningly simple but brilliant solution to sharing information. Linked with database and information retrieval technology for managing information, and with graphics for presenting information, it has revolutionised ICT. The early promise of AI (Artificial Intelligence) has not been realised, but robotics has developed considerably and some aspects of knowledge engineering (eg domain ontologies) have had demonstrable successes. Above all, the widespread use of ICT (and the underlying applied mathematics) in all contexts has been startling. The billions of processors embedded in everyday devices, the massive use of ICT for social interactions and the ever-increasing use of ICT for professional activities has amazed everyone.
Dennis Tsichritzis, President of ERCIM (1994-1998) and the Board of Directors welcome the President of the Czech Research Consortium for Informatics and Mathematics, Jiri Wiedermann, during the ERCIM meetings in Zurich in May 1996.
"Prediction is very difficult, especially if it's about the future." (Niels Bohr). However, at such a milestone it is more or less obligatory. It is clear that despite dire predictions, the limits of current processor and memory technology have not yet been reached and are being pushed further. On the other hand, newer hardware technologies are being developed in parallel with more speculative advances in quantum and biological computing. A connected world of ever-increasing numbers of sensors will also take shape. There are implications for the balance of media types: audio and video will become more prevalent.
The future of software is much less clear. The move towards self-describing services that can be combined in a 'plug and play' mode (either by the software engineer or automatically) seems inevitable and is driven by factors of cost, reliability, security, durability and flexibility. Such a move should improve reuse of components and interoperability of application systems, with clear advantages for management.
The merging of communications, location (spatial and temporal), media and processing will parallel the development of a seamless personal lifestyle across professional and social contexts, but we must be vigilant to the dangers to security and privacy. Intelligent environments in the home, office, factory, control room, medical centre, vehicles and so on will support this. Information supplied on demand by the user will evolve towards information pushed and filtered to the user - for whatever context and role is appropriate. User interfaces will move through haptic to 'brain-linked'.
Evolution of ERCIM. The graph shows the increase in ERCIM Membership, Working Groups (WG), European contracts managed by ERCIM and Fellows hosted at ERCIM institutes through the -Alain Bensoussan- Fellowship Programme.
As it has over the last two decades, I am confident that ERCIM will remain at the forefront of developments into the future. Plans have been put in place for this to happen effectively and efficiently, and the people - young dynamic excellent researchers - are positioned to take over from the current senior generation. ERCIM has a great future.


This presentation will discuss the overall strategy of the website and the technical approach we used to make a lean, immersive and more sustainable website.
Hi everybody. As Jen said, my name is Andrew Boardman. It's really an honor to be here and have an opportunity to speak with everybody today. I'll tell you a little bit about a project that we've been developing over the past few months. As you can see, the project is called Serving.Green. It's both an educational tool and a web-based model for designing and developing rich websites. Our hope is that today will tie in nicely to some of the other conversations that we're going to have today about sustainable design practices and the need to rethink our carbon lives in the digital space.
The website we'll discuss, Serving.Green, represents our attempt at jumpstarting multiple conversations about serving a green digital product. This talk is brokek ndown into two parts. First, provide an overview of the project and discuss why we need to take a very different approach to building the web. Then my colleague Dan Lamb, who is sitting next to me, will discuss some of the technologies and approaches used in building and serving this website.
First, to give you a little bit of background about us. As Jen mentioned, I run a company called Manoverboard. I should mention that our primary goal is to help conscious companies advance their mission, deliver new ideas, and connect meaningfully with their audiences. We're also a certified B Corporation. As many of you might know, it's a new type of company that uses business to help solve some of the world's most challenging social and environmental issues. Part of our work as a B Corp and a business focused on sustainability is to advocate for forward-looking design and technology practices. Which brings us to the topic today. I want to encourage everyone to look into B Corps or become affiliated with B Corps if you can. It's a great movement. These are just a few of clients with whom we work. You can see many of them are in the impact investment space, which I think is really changing the way we think about environment and sustainability.
OK. Greening the web. When I broach the subject to most people, it sounds very strange. After all, isn't the web already green? We're not cutting down trees to print brochures, or using messy ink and magazines to communicate our ideas. How much energy could the web actually use? That's what people say. The reality is that the web is in no way green. The vast majority—about 3/4, the last time I looked—of the internet continues to be powered by fossil fuels. As the internet grows, we're using more and more non-renewable energy to power it. Every time we click a link, upload a file, or watch a video online, we make use of these huge data centers that are mostly powered by dirty energy. According to one source, the internet will soon amount to 1 billion tons of carbon dioxide annually, or approximately 10% of global electricity usage. All of that data coming up and down the pipes could both be massively reduced and powered by renewable energy if we desire. As builders of the web, we have a choice. We can either build green sites and applications or we can choose to ignore it.
There are many challenges around greening the web, but really two key ones. First, we need to start building more efficient websites, applications, and tools that use less energy. It's clear that websites have gotten much larger, and unnecessarily so. The average webpage—including video, images, code, and copy—amounts to nearly 2.5 megabytes in size. That's about 20 times the size of a page in 2003, when pages were built to be light and quick because bandwidth was also tight. If you think of your website as a bicycle, you might not need the super tricked out lowrider you see on the right. you probably just need something awesome that's on two wheels, which you see on the left.
The second main challenge is that we need to host those same websites, applications, and tools with renewable energy, or the very nearest equivalent. Many larger data centers are becoming more conscious of their energy consumption, and they're working on becoming more energy-efficient. Some are even adapting renewable energy, like apple and Google, as you probably know. However, the rate of growth of the web is outpacing data provider's efficiencies and their green energy commitments. On the left, you can find a refinery that is belching out tremendous amounts of carbon dioxide and other greenhouse gases. On the right is a geothermal plant in Iceland. The stuff coming out of the stacks on the right is just steam. That's plain H2O. That's the way we need to go.
But here's the good news. Greening the internet is without our reach. Everyone concerned with the fate of the planet can help. In September 2016, we launched a webpage project called Serving.Green. It helps explain the numerous challenges of overbuilt websites and fossil-fueled data centers, and to provide some more concrete solutions to a general audience. The site was the result of a series of weekly conversations with Tim Frick of Mightybytes, who will be speaking later today, and John Haugen of Third Partners, which is a sustainability consultancy in New York. Together, we collaborated to create this site called Serving.Green. The concept of serving not only refers to data, serving data, but also to serving visitors and users of our digital products. I see this website as an ongoing educational tool to help us start and continue a conversation about our digital economy and how it can also become part of a green economy.
We had four goals. First, to educate the public about the need for hosting websites and applications efficiently with renewable energy. Second, to provide a user-friendly, memorable, and straightforward way for visitors to understand the issues around the sustainable web. Third, to offer a small and useful set of resources that can be easily and readily updated. Fourth, to provide a model for creating a beautiful and engaging web experience on a modest page size budget. We're going to touch on each of these. I'm going to talk about the first three and Dan will talk about the fourth, which is the most important, I think.
The first goal, in terms of educating the public. This is key to the success of all sustainability initiatives, especially in an era of what we have of alternative facts and the devaluing of expertise in basic science. To date, the only large organization that has been successful in talking about greening the internet is Greenpeace. All the other organizations that I love and support—and I won't name them here—are having a tough time connecting the dots between how our digital footprint impacts our carbon footprint.
The second goal, which is creating a user-friendly and memorable platform for site visitors, goes hand-in-hand with education. Putting out a white paper or a plain vanilla website with a bunch of facts in Times New Roman will no longer work in today's world of video-enhanced reporting and short attention spans. As designers, we need to quickly empower ourselves to tell interesting, accessible stories about our most pressing challenges, in a way that will resonate with and connect with viewers. I really believe this is urgent. Fighting facts with facts is very important, but if we can do it using design and the tools of good UX—which is why we're all here today—we have a much more powerful vehicle for communicating with the public. As you can see from these screenshots, the Serving.Green website is meant to showcase key statistics and tweetable factoids that the average person who builds the web or uses the web—meaning most everybody here—would find surprising and hopefully will spur them to take some action.
This brings us to the third screenshot, which essentially the goal is to create a useful set of resources that the site visitors can find. How to green their website and how they can approach a digital project with sustainability in mind. We provide five key recommendations for folks on the site, including finding a green host, which is the single most important thing you can do to create a green digital product. The other recommendations are to access and refine your site's assets, and to talk with your designer, developer, and host about serving things green. Having that conversation is very important.
But here's the challenge we face, and where I'd love to hear from the community. The stakes of climate change are so high and we need to support a green economy at all costs. We're definitely thinking about next steps for the site and where it goes in terms of education and advocacy. I'd love to hear your suggestions on how Serving.Green can make a difference.
As I mentioned, the fourth goal for Serving.Green is to create a model for creating lightweight but richly designed sites. I'm going to turn it over to my colleague, Dan, to discuss some of the approaches and technologies he used to build the site and optimize its performance.
Dan Lamb here. I'm the lead developer here at Manoverboard, and I was tasked with trying to make a pretty nice website using a lot of the modern things that people are expecting nowadays, such as high-resolution images, pretty good resolution video, and animation and other effects. As Andrew already mentioned, the average page size of a webpage nowadays is in the ballpark of 2.4 megabytes. Our goal was to definitely come under that, as much as we could, without sacrificing the experience. My talk is going to be focused on making websites more green simply by trying to reduce your file size as much as you can. By reducing your file size as much as you can, you'll reduce the amount of energy that's going to need to be consumed to display it. I'm going to be going through seven things that any web designer can do to try to keep their file size down.
Let's jump into the first one. Images. Images are a big one. In the early days of websites, where everything was just plain text, it was done because we had to. There was no bandwidth. But as soon as we had enough bandwidth to start pumping images through it, that's what we started doing. As bandwidth gets bigger and bigger and bigger, we start pumping more and more high-resolution images through the pipes. The first way to deal with images and reduce your file size is to limit the number of images that you use. Really strongly consider every asset that you're putting into your project. This sheet, to the best of my knowledge, is all of the images that are used on our page.
Next up is the idea of resolution. Oftentimes, if the image you're using isn't super highly detailed, you can reduce the JPG quality quite a lot without actually sacrificing the experience. On that note, especially if you're tinting the layer back with a dark overlay or some sort of color, the darker or more opaque that overlay is, the less resolution you probably need. Sorry, I think I was talking about JPG quality on the last slide. But JPG quality, again, is a big thing. Depending on how big an image is going to be displayed, or how much you're going to obscure it in other ways, you should really try to bring those quality sliders down as much as you can before you start to feel bad about yourself putting it on your project.
Another big way to deal with images is to detect the size necessary based on the browser window or the device that's accessing your website. Just send them an image that's appropriate for that device. For instance, nowadays, 4K televisions are all the rage. Some people are actually viewing websites on them. But there's no reason to serve a 4K resolution image to somebody's iPhone. Retina displays are not that good yet.
Moving on from images, the next one is videos. Videos on webpages are a little more recent than images, of course. But you see them everywhere nowadays. In order to reduce the file size of your videos, you pretty much have all of the same things as images, plus time. On our page, we used this awesome video of steam billowing out of a geothermal energy plant in Iceland. You'll see the video quite a lot through the project. Based on the level of detail that's in this video, similar to images, we decided that for our needs, using 720p resolution was enough, even when viewed on a full HD 24″ monitor. We said that was good enough, so that's what we went with.
The new thing with video that you don't have to worry about with images is time. The stock that we're using when we originally purchased it was… it escapes me, it was between either 30 seconds or 60 seconds. But as you can imagine, if the camera in the shot is not moving, and it's not, why not just set up a seamless loop for the video? So I was able to set up a pretty darn good loop that you don't notice looping, using only four seconds. That was a pretty drastic reduction in file size without losing any of the effect.
One of the more interesting ones we discovered while working on this project was the positive impact we could make by using HTML5's video tag. Originally, we were trying to host our video on YouTube so we could offload the serving of that asset to a fairly green source. But once we actually got it in place and had the embed running, we found that it was costing us over a megabyte in scripts required just to play the video. By skipping that and just using the video tag, we were able to save quite a bit. The scripts were actually significantly longer than the video itself was. Not acceptable to us.
Next, the idea of reusing. As you saw in an earlier slide, we have just the four beautiful images and one video. But we actually reused the video on and off throughout the length of the project. We do that by filtering the video with CSS or other techniques. The first version you see if a full-color version of the video. That's how we saved out the file and uploaded it to our servers. Next, we use CSS3 to grayscale the video in some cases. Lastly, we put a semi-transparent overlay on top of the video to make it look like we also had a green version. We only had the one asset, but because of the ways that we filtered it, we were able to reuse it and make it feel like something new as you scroll through the page.
The next topic is fonts. We bfonts are so common nowadays. I would say you're probably hard pressed to find a site where someone isn't using at least one web font somewhere. But, like anything else, if you use too much of them, you're going to be costing yourself more bandwidth required. For this project, we decided to use one font family in these four weights. It still shows up as an intermediate load time in Google web fonts interface. But the point here is not always to produce a microscopically tiny website. The goal, in every case, you're just trying to make it as small as you can given the needs and constraints of your project.
The next topic is text masking. On this website, we're trying to do something pretty fancy, where we use text as a cookie cutter and allow other assets, such as the images or the videos, to show through the text. We started off by going down a fairly deep rabbit hole full of some advanced techniques using SVG and canvas. In the end, they were either too complicated or there was too much going on the scripts to get them to work. We decided to go super low tech and use a really, really big image with PNG transparency. As you probably know, using the fancy PNGs that offer you antialiased transparency, there's usually a pretty big file size cost. In our case, since the giant images that we're using are a single color with transparency, the file size is still quite small. We found it was very acceptable. We're using huge images with text cut out, with considerations made for the different aspect ratios of devices that would be viewing it, then stacking it on top of other assets.
Next, this is a really, really big one. No matter how small you get your file size down on your websites, it's not going to matter if the people you're hosting it with are burning fossil fuels anyways. This particular website is powered by possibly that very same geothermal power station that we feature so much through our website. We're hosting the site in Iceland. The host that we're using, and also, if I'm not mistaken, all, or the majority of the country of Iceland, is powered by geothermal and hydroelectric power. Really taking the time to investigate the host that you're using and seeing what powers them is a really, really awesome way to reduce the environmental impact of your websites and applications.
The last one is a little bonus: the idea of using hosted libraries. These are just a couple of examples of folks who are taking script libraries that a lot of us designers are using over and over and over again. By allowing a hosted library to host some of your resources, the benefit there is that anyone who has already used the same hosted library to download a particular script, such as Angular or jQuery, they'll be able to skip downloading it again and use the version that's sitting in their browser cache.
That pretty much wraps up my talk for what we did with Serving.Green. If you haven't yet heard of it or had a chance to look at it, this is actually the URL. We're running on the new-ish .green top-level domain. If you type in Serving.Green into your web browser, it will take you right there.
Thanks everybody for listening. If you want a little bit more information, Dan's written a blog post at our website, manoverboard.com. Please feel free to reach out to us at any time. Here's our contact info. It's been a pleasure. Thanks.
Andrew Boardman is the founder of Manoverboard, a purpose-driven design studio that provides digital platforms, communications strategies, and visual identities to socially responsible businesses, educational institutions, and large nonprofit organizations. Manoverboard is a Certified B Corp based in Winnipeg, Canada and is the first B Corp in the province. Clients have included Generation Investment Management, Global Alliance for Children, SJF Ventures, Renewal Funds, Acumen Fund, Encourage Capital, EQ3, Council of Canadians with Disabilities, Maestral International, and the International Institute for Sustainable Development.


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Home / Accessibility
Accessibility statement for www.fcoservices.gov.uk and www.fcdoservices.gov.uk
This accessibility statement applies to FCDO Services' corporate website. This includes two domains, www.fcdoservices.gov.uk and www.fcoservices.gov.uk.
This website is run by FCDO Services. We want as many people as possible to be able to use this website. For example, that means you should be able to:
zoom in up to 300% without the text spilling off the screen
navigate most of the website using just a keyboard
Compatibility with tools
This website should be compatible with recent versions of the following screen readers:
ZoomText
Window Eyes
Supernova screen readers
Magicetc
The site should also be compatible with:
basic operating system screen magnifiers
speech recognition software, eg Dragon Naturally Speaking
operating system speech packages
How accessible this website is
We know some parts of this website are not fully accessible:
you cannot modify the font size
most PDF documents are not fully accessible to screen reader software
the colour contrast on the search function is not high enough
some links are not descriptive if you use a screen reader
Feedback and contact information
email FCDO.Services@fcdo.gov.uk
We'll consider your request and get back to you in 5 days.
We're always looking to improve the accessibility of this website. If you find any problems not listed on this page or think we're not meeting accessibility requirements, contact Corporate Communications via FCDO.Services@fcdo.gov.uk.
Contacting us by phone or visiting us in person
Parts of our offices have audio induction loops, and, if you contact us before your visit, we can arrange a British Sign Language (BSL) interpreter.
Find out how to contact us.
FCDO Services is committed to making its website accessible, in accordance with the Public Sector Bodies (Websites and Mobile Applications) (No. 2) Accessibility Regulations 2018.
Compliance status
This website is partially compliant with the Web Content Accessibility Guidelines version 2.1 AA standard, due to the non-compliances listed below.
Non-accessible content
The content listed below is non-accessible for the following reasons.
Non-compliance with the accessibility regulations
The 'Search' button text does not meet the minimum contrast requirements. This fails WCAG 2.1 success criterion 1.4.3 (contrast (minimum)). We will ensure that all text meets the enhanced (AAA) contrast requirements in our new website, which will launch in November 2020.
Text cannot be resized, and this fails WCAG 2.1 success criterion 1.4.4 (resize text). We plan to meet this standard in our new website, which will launch in November 2020.
Not all links are descriptive of their purpose from the link text alone. This fails WCAG 2.1 success criterion 2.4.9 (link purpose (link only)). We plan to alter link text by October 2020. When we create new links we'll make sure they meet the accessibility standards.
Disproportionate burden
We will fix the accessibility problems listed under 'non-compliance with the accessibility regulations' in the development of our new website, which will launch in January 2021.
For this reason, we are claiming it would be a disproportionate burden to fix these problems in our existing site.
Content that's not within the scope of the accessibility regulations
PDFs and other documents
Our PDFs are not essential to providing our services, however we do have important documents in PDFs. We plan to fix these PDFs or make them into html pages in time for the launch of our new website in 2021.
The accessibility regulations do not require us to fix PDFs or other documents published before 23 September 2018 if they're not essential to providing our services. For example, we do not plan to fix our Organisational Chart.
Any new PDFs or Word documents we publish will meet accessibility standards.
What we're doing to improve accessibility
We will shortly be launching a new website, and will ensure that we meet the accessibility requirements in this website.
We will test the new website before launching, and update our accessibility statement.
Preparation of this accessibility statement
This statement was prepared on 28 September 2020. It was last reviewed on 10 November 2020.
This website was last tested on 16/09/2020. The test was carried out by FCDO Services Corporate Communications.
We decided on a sample of pages to test by selecting representative pages that are most visited and include elements that must pass the regulations (such as interactive elements).


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Joel Edgerton Was 'Terrified' Of Embarking On Movie Career
By: IANS | June 26, 2017
Actor Joel Edgerton, who became a household after playing bricklayer Will McGill in drama series "The Secret Life of Us", says it was a huge step to walk away from his "breakthrough" role in order to pursue his dream of working in movies in the US.
"It was a terrifying thing to leave. Hanging out with that cast, being on a TV show that people respected that was well written and executed so well. I didn't leave because I didn't like it. I had my sights set on moving into films," Edgerton told The Sun-Herald newspaper, reports femalefirst.co.uk.
And though the "Great Gatsby" actor had reservations about relocating Stateside, he knew he would always have regrets if he didn't take the plunge.
"I was terrified moving to America -- but I felt like if I didn't do it, I'd regret not trying," he said.
manushi miss india 2017...
dhanush rajinikanths political...


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Oxford City councillor declares 2021 'landmark year' for improving air quality
Councillor Tom Hayes, cabinet member for Zero Carbon Oxford at Oxford City Council has declared 2021 a "landmark year in Oxford's journey to improve air quality and tackle the climate emergency".
The city is proposing introducing a zero emission zone (ZEZ) pilot this summer, which will create a so-called 'red zone' - a small central area of the city which will charge all non-zero-emission vehicles £10 for entering between 7am and 7pm.
This will be followed by a 'green zone' in spring 2022, which will cover the rest of the city and offer discounted charges for vehicles that comply with the London ultra-low emission zone.
Oxfordshire County Council and Oxford City Council are currently seeking views from residents, businesses and visitors on the pilot, with the consultation due to close this Sunday, January 17.
So far, 400 responses have been submitted to the consultation since it was launched in November.
Hayes said: "2021 will be a landmark year in Oxford's journey to improve air quality and tackle the climate emergency.
"After first proposing this scheme in 2017, we have worked closely with Oxfordshire County Council to ensure that the scheme is the strongest it can be, while also listening to the views of residents and businesses.
"We know the impact that air pollution can have on people's health, and the ZEZ will help us make a difference both in Oxford and beyond."
Councillor Yvonne Constance, cabinet member for environment, Oxfordshire County Council, said: "Tackling air pollution and climate change is a huge priority for Oxfordshire County Council.
"Not only will this project make a difference to the quality of life and health of people living and working in the city centre, we are showing that change is possible as we start to respond seriously with climate action.
"We can look forward to a city that will be a healthier and cleaner place for all.
"To get us there, it is important to understand public views on the latest proposals for the pilot zone and I would like to encourage all residents to have their say."
Oxford creates blueprint for the zero-emission city
A date for ZEZ to be introduced in two phases has been delayed by Covid-19, but it will still go ahead in 2021
Coventry and Oxford set to become UK's first all-electric bus cities
Coventry and Oxford could be awarded up to £50 million each to switch their entire bus fleets to electric by 2025.


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To find the perfect location to shoot the Amazon island of Themyscira, the birthplace of Wonder Woman herself, the film's producers searched all over the world, finally settling on the Cilentan Coast: a stretch of coastline on the Tyrrhenian Sea, located in the Province of Salerno in Southern Italy.[134] It was chosen because most beaches in the world that sit below big cliffs disappear beneath the tide for part of every day. Production designer Aline Bonetto and her location manager Charles Somers considered 47 countries and visited several of them before they found what they were looking for. Bonetto explained that, "Italy had beautiful weather, a beautiful blue-green sea, not too much tide, not too much wave. Our effects team added some cliffs in post-production, and it was the perfect way to go".[135] The estuary at Lower Halstow in Kent is featured in the scene in which Diana arrives at a Belgian creek to make her way to the warfront.[136] Bill Westenhofer served as the visual effects supervisor for the film[137] and Martin Walsh served as editor.[127]
At the time of her debut, Wonder Woman sported a red top with a golden eagle emblem, a white belt, blue star-spangled culottes, and red and golden go-go boots. She originally wore a skirt; however according to Elizabeth Martson, "It was too hard to draw and would have been over her head most of the time."[189] This outfit was entirely based on the American flag, because Wonder Woman was purely an American icon as she debuted during World War II.[194] Later in 1942, Wonder Woman's outfit received a slight change – the culottes were converted entirely into skin-tight shorts and she wore sandals.[194] While earlier most of her back was exposed, during the imposition of the Comics Code Authority in the mid-1950s, Wonder Woman's outfit was rectified to make her back substantially covered, in order to comply with the Authority's rule of minimum exposure.[194] During Mike Sekowsky's run in the late 1960s, Diana surrendered her powers and started using her own skills to fight crime. She wore a series of jumpsuits as her attire; the most popular of these was a white one.[194]
Villains	Alien Alliance · Amazo · Amos Fortune · Anti-Justice League · Anti-Monitor · Appellaxians · Aquarius · Aryan Brigade · Atomic Skull · Axis America · Barbatos · Cadre · Crime Champions · Crime Syndicate of America · Darkseid · Dark Knights · Demolition Team · Demons Three · Despero · Doctor Light · Epoch the Lord of Time · Extremists · Felix Faust · Floronic Man · Freedom Fighters of China · Hyperclan · Injustice Gang · Injustice League · Kanjar Ro · Key · League Busters · League of Ancients · Legion of Doom · Lex Luthor · Libra · Mad Maestro · Manga Khan · Mongul · Mister Nebula · Queen Bee · Queen of Fables · Rama Khan · Red King · Royal Flush Gang · Secret Society of Super Villains · Shadow Cabinet · Starro · Steppenwolf · Weapons Master · White Martians
The Crisis on Infinite Earths crossover of 1986 was designed and written with the purpose of streamlining most of DC's characters into one more-focused continuity and reinventing them for a new era, thus Wonder Woman and Steve Trevor were declared to come from the Earth-Two dimension, and along with all of their exploits, were erased from history, so that a new Wonder Woman character, story and timeline could take priority.
Her various durability levels originally stemmed from her Amazonian training. In post-Golden Age and Pre-52, Demeter (Goddess of the Earth) granted her immunity to radiation and the coldness of space; she also possesses a high level of resistance against fire and high temperatures, she has been shown taking fire, lava, thermonuclear explosions, hell fire and even superman's heat vision, however, her invulnerability has a vulnerable point against piercing weapons. Wonder Woman can fight with and withstood considerable damage in the form of hand to hand combat with opponents such as Superman and Gods. Wonder Woman possesses a high resistance to damage and magical attacks. Also she was self-sufficient in the fact that Wonder Woman did not have to eat or sleep and could hold her breath under water for hours and hours. This may still hold true in the new 52, Wonder Woman has still shown the ability to fight on with little to no rest or food to replenish her strength.
An iron-fisted general of the German Army during World War I.[29] Huston described Ludendorff as a "pragmatist, realist, patriotic, fighting for his country", further explaining, "he lost his son on the German front lines and was just quite tortured, diabolical, stubborn and believes that what he's doing is for the betterment of mankind."[30] On his character, Huston said, "Ludendorff is a believer that war is a natural habitat for humans." Huston stated the film as an anti-war film and "somebody like Ludendorff would probably think that the idea that love conquers all is quite a naive concept. But finally it's true and sometimes the best way to examine mankind is from another perspective." On the genre of the film, Huston said, "It's Greek mythology. It's the origin of story and sometimes we need demigods to look at us to understand what our weaknesses are. It serves the mythological world."[31]
Wonder Woman, known for seasons 2 and 3 as The New Adventures of Wonder Woman, is an American television series based on the DC Comics comic book superhero of the same name. The show stars Lynda Carter as Wonder Woman/Diana Prince and Lyle Waggoner as Steve Trevor Sr. & Jr. It originally aired for three seasons from 1975 to 1979.[1] The show's first season aired on ABC and is set in the 1940s during World War II. The second and third seasons aired on CBS and are set in the 1970s, with the title changed to The New Adventures of Wonder Woman, and a complete change of cast other than Carter and Waggoner. Waggoner's character was changed to Steve Trevor Jr., the son of his original character.[2]
Wonder Woman was also allowed to become a bit more physical in the third season and could now be seen throwing the occasional punch or kick. The writers also came up with several unusual ways for Diana to execute her spinning transformation, the most notable instances occurring in the episode "Stolen Faces" in which Diana makes the change while falling off a tall building, and the season two episode "The Pied Piper" in which she changes while strapped into a spinning chair.
Unlike the earlier pilot, the comic-book origins of the character were emphasized by the retention of the character's traditional uniform (the design of which was interpreted and executed by Donald Lee Feld, credited as "Donfeld") with the original setting and through the use of comic book elements. The series's title sequence was animated in the form of a series of comic book panels featuring Wonder Woman performing a variety of heroic feats. Within the show, location and exposition were handled through comic book-style text panels. Transitions between scenes and commercial breaks were marked by animated starburst sequences.
Elise Jost of Moviepilot observed that "Gadot's take on Wonder Woman is one of those unique cases of an actor merging with their story, similar to Robert Downey Jr.'s Tony Stark. Gal Gadot is Wonder Woman, and Wonder Woman is Gal Gadot."[204] Jost praised Gadot's interpretation of Wonder Woman as the one in which Gadot "absolutely nails the character's unwaveringly positive outlook on life. She's a force of nature who believes in the greater good; her conviction that she's meant to save the world is stronger than her bullet-deflecting shield. She's genuine, she's fun, she's the warm source of energy at the heart of the movie."[204] The Federalist suggests that Wonder Woman is "a story of Jesus". "The movie is wrapped up in faux Greek mythology, true, but there's no mistaking the Christology here."[221] "Perhaps Christ in the form of a beautiful and kick-ass Amazon is all that our contemporary society can handle right now", stated M. Hudson, a Christian feminist.[221] On HuffPost cultural critic, G. Roger Denson, who regards the superhero genre as a source of contemporary "Mainstream Mythopoetics" ("the making of new yet vitally meaningful, if not symbolic, stories filled with imagery reflecting, yet also shaping and advancing, the political, legal, moral and social practices of today"), wrote that the "No Man's Land" scene "that people are crying over in theaters and raving about afterward happens to be among the most powerfully mythopoetic scenes ever filmed at the same time it is one of the oldest myths to have been utilized by artists and writers after it had been invented by early military strategists and leaders." Specifically "used by director Patty Jenkins", the scene raises "the esteem for powerful yet compassionate women as heroes and leaders to a level equal with that of men for having won over a huge and adoring popular audience around the world".[222]
Although seemingly only a purely decorative aspect of her costume, in the golden and silver ages, her earrings were sometimes depicted as giving her the ability to breathe in outer space. Gelignite Grenade Earrings and Grappling Hook Bracelet - In her depowered mod girl phase, Diana on rare occasion employed these devices, which were concealed to look like regular parts of her costume. She acquired them from a demolitions expert and villain which she had helped reform. The grenades were strong enough to blast through a thick steel door and the grappling hook could support easily her body weight to aid in climbing.
In Challenge of the Gods, Diana is already accustomed to the "man's world" she had been unaware of during her time at Paradise Island, and even happens to be a sort a celebrity, which is a factor that the character would deal with again and again as she is introduced to modern society. Wonder Woman has to fight a new villain, Cheetah; manage Zeus, who is assessing if Diana would make a good wife; and even pacify internal conflicts among the Amazonians.
For a time she was given enhanced vision by Athena, which gave her the ability to see in darkness and through illusions. This also makes her resistant/immune to telepathy. Due to her wisdom she can learn languages faster than a regular person, she can talk to animals. She has also been shown to project herself astrally in order to commune with the gods and ask for special favors from them. She has also been shown to take on the abilities of certain of her patron goddesses as when she became a form of divine midwife to save the life of an unborn child.
In the Silver Age, Wonder Woman's history received several changes. Her earlier origin, which had significant ties to World War II, was changed and her powers were shown to be the product of the gods' blessings, corresponding to her epithet, "beautiful as Aphrodite, wise as Athena, stronger than Hercules, and swifter than Hermes".[34][90] The concepts of Wonder Girl and Wonder Tot were also introduced during this period.[91]
Despite the muted ratings of the earlier Cathy Lee Crosby television pilot, ABC still felt a Wonder Woman series had potential, and within a year another pilot was in production. Keen to make a distinction from the last pilot, producers gave the pilot the rather paradoxical title The New Original Wonder Woman. Scripting duties were given to Stanley Ralph Ross, who was instructed to be more faithful to the comic book and to create a subtle "high comedy." Ross set the pilot in World War II, the era in which the original comic book began.
Princess Diana commands respect both as Wonder Woman and Diana Prince; her epithetical title – The Amazon Princess – illustrates the dichotomy of her character. She is a powerful, strong-willed character who does not back down from a fight or a challenge. Yet, she is a diplomat who strongly "favors the pen", and a lover of peace who would never seek to fight or escalate a conflict. She's simultaneously both the most fierce and most nurturing member of the Justice League; and her political connections as a United Nations Honorary Ambassador and the ambassador of a warrior nation makes her an invaluable addition to the team. With her powerful abilities, centuries of training and experience at handling threats that range from petty crime to threats that are of a magical or supernatural nature, Diana is capable of competing with nearly any hero or villain.
After taking on the mantle God of War after killing her mentor War. Diana have shown some new abilities. She can now telepathically communicate and control all soldiers on the planet since she is their greatest leader. She hasn't shown the ability, but as her predecessor was able to bring back dead soldiers to fight alongside him, she might be able to do so as well.
Supporting	Amazons • Antiope • Artemis • Belyllioth • Cassandra Sandsmark • Department of Metahuman Affairs • Donna Troy • Ed Indelicato • Etta Candy • Ferdinand • Fury • General Blankenship • Helena Sandsmark • Hellenders • Hercules • Hippolyta • Holliday Girls • I-Ching • Julia Kapatelis • Jumpa • Lauren Haley • Lyta Milton • Mala • Micah Rains • Mike Schorr • Natasha Teranova • Nemesis • Nubia • Olympian • Orana • Phil Darnell • Philippus • Rama Chandra • Sarge Steel • Sofia Constantinas • Steve Trevor • Titans of Myth • Trevor Barnes • Vanessa Kapatelis • Warkiller • Wonder Girl • Wonder Man
Lennox suggests meeting Siracca, a fellow demigod daughter of Zeus as well. She travels to Lybia and finds a girl trapped in a vase. The girl tells Wonder Woman that when the soldiers came, everyone hid in a bunker. Leading her down, she triggers a trap which sends a plethora of knives, swords and daggers at her. Blocking them all but one, Diana looks to find the girl dissolving to sand. Crying at her failure, her time to mourn is cut short as the real Siracca, albeit in a zombie like form, ambushes her.
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Be Too Distant Way Home (S04E11) is the eleventh episode of season four of "Katekyo Hitman ... More Be Too Distant Way Home (S04E11) is the eleventh episode of season four of "Katekyo Hitman Reborn!" released on Sat May 24, 2008. Katekyo Hitman Reborn! stars Neeko as Reborn, Yukari Kokubun as Tsunayoshi "Tsuna" Sawada and Hidekazu Ichinose as Hayato Gokudera.


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After years of attempts and preparation, the Austrian mountaineer completes the treacherous climb in Nepal.
Austrian alpinist David Lama recently became the first person to reach the summit of Lunag Ri – one of the highest unclimbed peaks in Nepal – and he did it alone. The 28-year-old's first attempt was in 2015 when he and Conrad Anker had to turn back due to a tactical mistake – being just 985 feet from the summit.
They tried again in 2016, when Anker suffered a heart attack at 6,000 feet (The 56-year-old recovered after surgery). A few days later, Lama tried it on his own and got 820 feet away from the summit. He noted it as one of his most extreme experiences ever.
Now, two years later, Lama has conquered this peak. He started his night by tackling the Northwest Ridge in icy temperatures of minus 86 degrees Fahrenheit, with winds up to 10 km/h. He then spent two nights in a bivouac as he worked his way up steep snowfields, rough ice and rock passages over three grueling days.
Then, in treacherously exposed places, he belayed in himself. Although, a majority of his climbing was rope-less as he finally reached the 22,660-foot summit on Oct. 25 before descending carefully to base camp in the night.


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Growing up we had this great tradition of chili and cornbread on Christmas Eve. Here is a yummy recipe I derived for a church chili cookoff. Admittedly it didn't win anything, but those people who appreciate meatless, healthy meal met this recipe with rave reviews. I wish my family loved chili, because I do. They don't. So I make this and eat it for a week. I can't make it too often!.
P.S. Thanks so much to all of you who have shared your vegan recipes with me! I can't wait to try them. Merry Christmas to all!
Saute the first five ingredients over medium heat. I put black beans, wheat and buckwheat in my pressure cooker and cook together for about 25 minutes. Or you make cook them separately on the stove top or in a rice cooker. Combine all ingredients in a crock pot and cook on high for 5 hours. Reduce to low and continue to simmer until ready to serve.


Implementing pagination in Scala projects using Slick is a very common task, but it's not always clear how you can use Slick efficiently. It's obvious that requesting all records from a schema in one go is a bad idea no matter how many records are in that schema. But building efficient database requests is more than just getting a small number of values from a table.
The server should get only the necessary values, not all of them at once.
The server should use an offset to get only the entries for a specific page.
The query should return not only items, but also additional data to the client.
The returned items should be filtered before they're sent to the client.
The third point needs clarification. What kind of additional data may the client application need? It's often necessary to return the total quantity of items, the availability of the next page, and other data depending on the front-end application needs.
We'll show a way to implement efficient pagination with Slick for Scala projects according to the requirements above.
We'll start with a simple example of pagination with Slick. Let's say that our task is to get a list of comments that were published by a user. Your Scala application will have two entities — the user and the comment — with the one-to-many relation: a user can have many comments, and a single comment will belong to only one user.
This obvious implementation will strain the database layer too much (a user can have a thousand comments, and such request will get all of them), which is why we should use "paginated" select to make the database requests more efficient.
The rewritten method findAll() (below) will accept not only the user ID, but also a limit — the number of records to be rendered on a single page, and an offset — an integer value for the start record. Needless to say that the limit and offset values must be provided by the client application.
The improved findAll() method does exactly what we wanted: it gets only the necessary number of comments thus helping us spare the bandwidth and performance of the hardware.
But, as we discussed in the introduction, that's not all we can do to make Slick pagination efficient. The next step is to modify the request in order to get more information about the records.
When implementing server-side pagination, it's often necessary to get additional data about the records. For example, you may need to know the total number of records so that the client application can show this number to the user. Additionally, it's good to know if there's the next page, which will help you decide whether the client application should send a request for that next page.
As we can see from the code above, the findAll() method gets the requested entities and their length totalCount. The code also calculates whether there's the next page.
Now that we've implemented pagination with Slick, one thing is left to discuss — how to sort the entities received from the database.
It's important to call the sortBy() method before you drop the records and take the necessary amount of elements. If you first call drop() and take(), and then try to sort the filtered entities with sortBy(), the elements will be incorrectly selected from the unsorted collection and only after that sorted among themselves.
The simple approach we've described enables you to request, filter, and sort entities received from database and, as a result, implement efficient pagination using Slick in your Scala application.


STEVENS POINT – A free air show will return to Stevens Point this summer.
The Stevens Point Pilots Association will host its bi-annual Stevens Point Airshow June 3 at the Stevens Point Municipal Airport/Mattson Field, 4501 State 66 in Stevens Point.
Festivities will start with breakfast at 7 a.m. At 9 a.m. guests can enjoy aircraft and emergency vehicle displays and activities for children. Lunch will be available from 11 a.m. to 3 p.m., and the air show performances will start at 1 p.m. at the event.
The event will feature five shows, including the Vanguard Squadron, Grant Nielson, Dave Scott and Susan Dacy each performing various maneuvers.
Mike Weinfurter will also show some history by flying the L-19 Bird Dog, a plane used in the U.S. Army Aviation Training Center in Alabama and the Wisconsin National Army Guard. Weinfurter's portion will be a tribute to all pilots and Bird dogs flown during the Korean and Vietnam wars.
The Stevens Point Pilots Association will be working with the local Veterans of Foreign Wars and Ageless Aviation to help support veterans.


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Woman wearing a fashionable kimono: The Chrysanthemum Festival by Utagawa Kuniyoshi
The son of a silk dyer, Utagawa Kuniyoshi was apprenticed to the printmaker Utagawa Toyokuni I. whose other pupils included Toyoshige and Kunisada. Unlike his master, who specialized in actor portraits, Kuniyoshi excelled in depicting historical scenes and events along with celebrated warriors. Like many of his contemporaries, the artist experimented widely, producing prints of everything from landscapes to erotica. Kuniyoshi's first published work was a set of book illustrations released in 1814, although his name remained obscure for several years until his publication of a print series depicting 75 heroes from Japanese lore and legend. When prints of actors and beautiful women (bijin-ga) were banned by the Japanese government in 1842, the Japanese middle class became enthusiastic supporters of Kuniyoshi's seemingly inoffensive historical prints. In 1843, the artist released a satirical triptych print criticizing the Shogun, launching an official investigation that resulted in the destruction of Kuniyoshi's woodblocks and unsold prints, as well as an official censure. The print, however, remained popular with the middle class. Bijin-ga (images of beauties) might be of actual contemporary and historic women or of an idealized type of beauty specific to a time and region. Courtesans in particular were usually depicted in the latest and most elaborate fashions of the day. After restrictive censorship laws were passed in the 1840s, many artists turned to generalized pictures of the latest fashions and more domestic settings for their images of beauties.
Woman looking away from game (Go) board by Utagawa Kuniyoshi
The son of a silk dyer, Utagawa Kuniyoshi was apprenticed to the printmaker Utagawa Toyokuni I. whose other pupils included Toyoshige and Kunisada. Unlike his master, who specialized in actor portraits, Kuniyoshi excelled in depicting historical scenes and events along with celebrated warriors. Like many of his contemporaries, the artist experimented widely, producing prints of everything from landscapes to erotica. Kuniyoshi's first published work was a set of book illustrations released in 1814, although his name remained obscure for several years until his publication of a print series depicting 75 heroes from Japanese lore and legend. When prints of actors and beautiful women (bijin-ga) were banned by the Japanese government in 1842, the Japanese middle class became enthusiastic supporters of Kuniyoshi's seemingly inoffensive historical prints. In 1843, the artist released a satirical triptych print criticizing the Shogun, launching an official investigation that resulted in the destruction of Kuniyoshi's woodblocks and unsold prints, as well as an official censure. The print, however, remained popular with the middle class. Bijin-ga (images of beauties) might be of actual contemporary and historic women or of an idealized type of beauty specific to a time and region. Courtesans in particular were usually depicted in the latest and most elaborate fashions of the day. After an increasing number of censorship laws were passed to limit the production of prints of famous courtesans, thought to corrupt the morals of the citizens of Japan, many artists turned to domestic images of mothers and daughters or women with servants and generalized pictures of the latest fashions in order to satisfy the demand for bijin-ga and skirt the laws.
The General Amakasu Omi-no-kami Kagotoki riding a brown horse by Utagawa Kuniyoshi
The son of a silk dyer, Utagawa Kuniyoshi was apprenticed to the printmaker Utagawa Toyokuni I. whose other pupils included Toyoshige and Kunisada. Unlike his master, who specialized in actor portraits, Kuniyoshi excelled in depicting historical scenes and events along with celebrated warriors. Like many of his contemporaries, the artist experimented widely, producing prints of everything from landscapes to erotica. Kuniyoshi's first published work was a set of book illustrations released in 1814, although his name remained obscure for several years until his publication of a print series depicting 75 heroes from Japanese lore and legend. When prints of actors and beautiful women (bijin-ga) were banned by the Japanese government in 1842, the Japanese middle class became enthusiastic supporters of Kuniyoshi's seemingly inoffensive historical prints. In 1843, the artist released a satirical triptych print criticizing the Shogun, launching an official investigation that resulted in the destruction of Kuniyoshi's woodblocks and unsold prints, as well as an official censure. The print, however, remained popular with the middle class.
The Wriston Art Gallery. Lawrence University 3
1797/8-1861 3
Japan - Edo-Tokugawa 1615 - 1868 3
Arts-Prints 3
People-Historical Figures 1


Algorithmic trading is a largely misunderstood concept for one primary reason. The majority of high-frequency trading (HFT) consists of algorithmic trading, and a large portion of high frequency trading constitutes a form of cheating. HFT is legal only because it hasn't specifically been made illegal. It has been on the decline in recent years in part because it has become a very competitive niche, invalidating the edge it provided in some of its more unethical forms.
Algorithmic trading does not pose an ethical issue by itself, but its association with HFT has created negative connotations. Algorithmic trading can make trading more efficient, specifically for the individual trader.
Until recently, algorithmic trading was more complicated to implement for an individual trader, especially if they didn't have specific software experience needed to program complex algorithms. Algovest has changed that.
Traders who download the free app can select a company's stock to apply their algorithm to, select a technical indicator of their choice, and finally choose basic inputs for their algorithm. Before automating the algorithm for live trading, app users get to back-test their algorithm against historical data. Presently Algovest supports over a half-dozen online brokerages including Fidelity, Scottrade, and Vanguard.
I haven't gotten to the part about how useful Algovest will be for Cryptobellum readers. Well, I know some of you are as equally invested in stocks as cryptocurrencies, so an app like Algovest has definite advantages to simplifying your strategies. Furthermore, Algovest plans to support cryptocurrency algorithms in the future, although so far they haven't specified a release date for this feature.


Answer: The person honored with hagbah - lifting the Torah after it is read. This person lifts the Torah from the bima and sits in a chair. Then the Torah is bound and covered, and the person remains sitting until the Torah is returned to the Holy Ark.
Note that this is true only in Ashkenazic synagogues. According to the widespread Sefardic custom, nobody sits down with the Torah; rather, the Torah scroll remains on the bima.