Last month, ABC online published 'Good taste, bad taste? What your habits reveal about social class', a quiz that invited readers to respond to questions about their reading, TV-watching and music-listening habits. Respondents' answers could (allegedly) be used to identify which class, age group and education level their tastes matched them with.
The quiz is based on a larger research project, the Australian Culture Fields project (ACF), which recently asked a sample of around 1,000 Australians about their tastes in music, television and books, in addition to information about their education and occupation. The idea being tested is simple enough: one's tastes in art, music, film, literature, television and so on is largely a function of class (sometimes age, sometimes gender). These tastes are reproduced through a cycle of inheritance. If one is from a well-off background, the theory goes, one is more likely to be inoculated with highbrow tastes, and this well-off background also means one is more likely to get into university and further develop their highbrow tastes.
If this is all sounding reminiscent of the work of French sociologist Pierre Bourdieu, that is because it is. The leader of the Australian Culture Fields project, Tony Bennett, wrote the 2010 introduction to the Routledge Classics edition of Bourdieu's seminal text Distinction. The central argument of Distinction was that cultural tastes – whether you like modernist art and talk shows or avoid art and watch slapsticks – is determined by class and education. It appears the results of the ACF have largely enforced Bourdieu's original thesis: the results suggest that reading Jane Austen and Haruki Murakami pushes you towards the middle and upper classes, while reading Stephen King aligns you with the Aussie battler.
This idea of distinction seems intuitive. Class affects the kind of education you can get; the kind of education you get affects your time to develop, explore or obtain certain aesthetic sensibilities. It is easy to suggest examples that seem true: opera audiences are filled with the well-dressed and snobbish, while beaten-down utes can blast AC/DC. These examples of who can appreciate what expand out from literature and music into anything that can be subsumed under the category 'taste': TV, art, food, etc, etc.
Contrast, however, these graspable but fictional scenes, with a more real one. In the introduction to his book Fear of Music, David Stubbs paints a picture of the Tate Modern art gallery in London.
The Tate Modern, very probably the UK's leading tourist destination, is packed, with practically every demographic, every continent, represented. Do a 360 swivel and they are all there. In the café seats overlooking the Turbine Hall, a pensioner munches diffidently on a damp sandwich. Slumped against the far wall are a couple of down and outs, clutching warm tins of lager, taking in the human traffic. To and fro pass old Americans, young Europeans, huddles of women, single men, families with infants in buggies, retired couples, foreign students and excited school kids.
David Stubbs' assertion is that people of all stripes get contemporary art. Bourdieu's assertion is that middle- to upper-class people are at the mercy of forces of cultural reproduction that allow them to 'get' contemporary art. Another contrast: the Bordieuian analysis of the ACF suggests something like 35% of Australians have never been to an art gallery. Yet, according to the 2015 Arts Nation Survey, more Australians attend art galleries than football stadiums on a yearly basis.
These suggest two very different conceptions of the relationship the masses have to art. How are we to think through this? Perhaps we can understand the public demand for art, the demand Stubbs points to, as related to a universal capacity: an ability present in all human beings to appreciate or acknowledge the beautiful. This comes close to the gist of Immanuel Kant's Third Critique, The Critique of Judgement, which Bourdieu was seeking to refute in his book Distinction.
This attempted rebuttal sees Bourdieu fit nicely into a broad piece of intellectual history: in French thought of the 1960s and 1970s, there was a distinct turn against the old narratives of universalism and humanism, narratives often inspired by the work of Kant. Bourdieu strides into this battle to show that the universalism of Kantian aesthetics merely masks bourgeoise ideology. So far, so good.
However, in seeking to displace Kantian aesthetics, Bourdieu lends credence to the notion that the art of the latte-sipping elites can only ever be the art of the latte-sipping elites. This notion, which has in part been reinforced by the results of the ACF project, presents us with a political problem. The results of the ACF project, if allowed to stand on their own and go unchallenged, have the potential to deteriorate the situation of the arts in Australia. The results of the ACF project are, at best, poorly timed.
For all the right-wing rhetoric against latte-sipping elites, the grinding down of the marginalised and poor and the attacks on our cultural institutions are profoundly connected. They are two faces of the same ideology. These policies reflect an attitude that sees culture and knowledge as the sole province of the privileged, the servants of the powerful.
Interestingly, the policies of the Coalition reflect the analysis of the ACF project and Bourdieu. While the Coalition starts with the idea of culture as the province of the privileged, the ACF project shows this idea to be the empirical reality. If this is the case, it is not implausible to imagine a future where the coalition use the results of the ACF to strengthen their arguments for further defunding of the arts – that is, if these institutions do not represent or serve the vast majority of Australians, why should the government fund them?
One of the things that makes this future seem more likely is the fact the analysis of Bourdieu and the ACF is capable of absorbing objection – of reassigning dissent as either affirmation (Bourdieu) or trivial (the ACF project). While the Bourdieuian analysis seems, prima facie, on the side of the class struggle and the oppressed, its methodology and logic always lead us back to the sociologist as king, someone who stands as the sole lantern bearer lighting the way through the murky world of ideology and obscure rituals.
Children from the popular [that is, working] classes are excluded from the universities because they are unaware of the true reasons why they are excluded.
Misunderstanding of the real reasons why they are excluded is a structural effect produced by the very existence of the system that excludes them.
This is simply to say that 'they are excluded because they do not know why they are excluded; and they do not know why they are excluded because they are excluded'. The Bourdieuian system of analysis relies on the importance of the sociologist, the one who can see the oppression that stops others from seeing their own oppression.
The realm of taste and aesthetics functions no differently. For Bourdieu, it is the case not just that class aligns with taste, but that class determines one's ability to experience art. This is a crucial point. In the introduction to Distinction, he writes: 'a work of art has meaning and interest only for someone who possesses the cultural competence, that is, the code, into which it is encoded.' Given this, what would Bourdieu say to a member of the popular classes who confronts him and says that he loves the arts or classical music? Simply that they have fooled themselves, that they do not truly understand, or not in the way the code encoded in the artwork requires. This is an example of what Luc Ferry and Alain Renaut have called the terrorism of Bourdieu's work: it absorbs all disagreement, like the psychoanalyst suggesting all resistance and refutation is simply confirmation.
This provides convenient cover; the ACF need not reject or deny the member of the working class who suggests they love Monet but detest Real Housewives of Sydney. Rather they can relegate them to the wastelands of statistical anomaly. Only when one has collected as much data as the ACF project will they be able to refute them.
So let's say one goes and collects the data necessary to refute the result of ACF project – but the results replicate themselves and the answers emerge the same as before. This would be because the methodology used by both Bourdieu and the ACF project is deeply flawed. The ACF project might say theirs is an empirical methodology, that they are simply examining the world as it is, thus revealing the class origins of taste, and the methods of reproduction that forever keep the working class from the world of art. It is similar to how the sociologist reaches their conclusions – they interrogate the survey, the interview, the opinion poll. They ask if one likes classic music or rock'n'roll, Jane Austen or Stephen King, Game of Thrones or QandA.
In transforming the test of musical taste into a test of knowledge the sociologist has solved the problem without even tackling it. He has tested the ability to answer a test on the history of music, which is, in the last instance, the ability to judge the meaning of an inquiry and answer accordingly. A typical examination situation where, of course, students from the university obtain the best grades.
It is odd to test music not by making people listen to it, but by asking them questions on it. To test literary appreciation by asking which authors one knows, not the reading of them. The art I know is indeed informed by my position in society, my education and so on. However, my ability to appreciate art – my sensibilities – may precede any place position I hold. The ACF project has merely tested whether the working class (however this is defined) know the names and signifiers of highbrow taste, not if they appreciate or enjoy them.
At the end of Teju Cole's Open City, the half Nigerian, half German narrator, Julius, is attending a performance of Gustav Mahler's Ninth Symphony in New York City. He notes how white and middle-aged the audience is. Whilst standing in the bathroom queue he gets looks that make him feel like 'Ota Benga, the Mbuti man who was put on display in the Monkey House at The Bronx Zoo in 1906'. Yet despite the whiteness of the audience, of those who know Mahler, Julius concludes, 'But Mahler's music is not white, or black, not old or young'.
Likewise, we should say – in opposition to the ACF project – that Stephen King's writing is not working class, nor Murakami's middle class. Peter Sculthorpe's music is not for the upper class. Despite how uncomfortable the working class may or may not feel within the walls of defunded art galleries, this has no bearing on if Pollock and Rothko are upper-class nonsense, or if noisy graffiti represents the limits of cultural appreciation of workers.
Art, from the written word to the painted landscape, is open to all, at least in principle. The results of the ACF reflect conservative ideas because they do not offer a revolutionary analysis, but rather one that reinforces that status quo. Their analysis bends so close to the Coalition's beliefs on art because it does not test the sensibilities of all, but the knowledge of the few, which has always been the Coalition's province.
Duncan Stuart writes and works with Demos Journal in Canberra.
Isn't that the whole point though? It is not about the working class being able to understand or appreciate certain types of art but that if they do not even get the opportunity to be exposed to it, how do they even know if they like or dislike it? And that in itself is limiting and something I see as a problem in a lot of areas of art… the communication it is sending is often to people who already know, understand or are open to the message.
There are of course financial barriers to certain art forms – but where are these people in Australia who are not 'being exposed to' art or culture? You could argue it is the poor and disenfranchised, but I would argue it is not 'the working class' more generally (that is, the masses, whether you mean that in a sociological or a Marxist sense).
There is no transparency in how class is being defined in this research, but the definitions seem kind of self-serving – i.e. middle-class people go to galleries, so if you go to galleries, you're middle class (as Duncan rightly points out above).
I am of the opinion that the contemporary discourse pathologises class as an *identity*, rather than looking at discrimination as systemic and economic (so 'working class' becomes a permanent or psychiatric condition, not a way of governance and profit that control the lives of the vast majority of the world's population).
Thanks for the reply. I suppose I do not quite know enough about it to really full grasp the concept. I was coming from the point of thinking that I don't think (and from what I can gather the people around me) were exposed to much of what is considered 'higbrow' in the study, until I decided to go to university, and most of the people around me did not decide to do that. Which made me wonder about it.
Top notch article and comments. I've heard the ACF's Tony Bennett assert that middle class people may commonly consume stereotypical working class culture like reality tv, but that they often engage with it in different ways; that is, with a higher degree of irony or shame. Hmmm. Any thoughts?
Interesting insight highlighting the esoteric assumption of the ACF's finding.


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West Virginia American Water Submits Rate Request to Public Service Commission of West Virginia
west-virginia-american-water-submits-rate-request-to-public-service-commission-of-west-virginia
April 30, 2021 | American Water (NYSE: AWK) |
CHARLESTON, W.Va. (April 30, 2021) – West Virginia American Water today filed a request with the Public Service Commission of West Virginia (PSC) to adjust its water and wastewater rates. The request is driven by infrastructure investments made by the company to continue providing safe and reliable water and wastewater service.
"Since our last rate case, we will have invested $252 million in infrastructure upgrades, including replacing more than 48 miles of aging water and sewer pipelines and upgrading treatment facilities, storage tanks and pumping stations," said Robert Burton, president of West Virginia American Water. "These infrastructure investments help ensure continued water quality, service reliability and fire protection for more than 545,000 people in 365 communities who depend on us every day."
"Not only are these investments critical to the public's health and safety, but they also support the economic health of the communities we serve," Burton continued. "This level of investment over a four-year period is estimated to support more than 3,900 jobs across the state and region."
If the company's proposed rates are approved as requested, the average residential water customer using 3,100 gallons per month would experience an increase of $11.26 per month, or $0.38 per day. The average monthly residential sewer bill would increase from $54.14 to $71.84. The PSC will undergo an extensive investigation and analysis of the company's filing, and any new rates set by the Commission would not be effective until February 25, 2022 at the earliest.
West Virginia American Water's rates are based on the actual cost of providing water and wastewater service. To help mitigate the impact to customers, the company works to control costs and operate efficiently and offers bill assistance and payment arrangements to customers who need them. Through its H2O Help to Others Program™, the company provides financial assistance to low-income customers who qualify, including emergency grants, bill discounts and education.
"By making prudent, ongoing investments to maintain and upgrade our water and wastewater systems, West Virginia American Water is committed to protecting our communities from public health concerns and quality of life issues associated with failing infrastructure," said Burton. "At the same time, we remain steadfastly committed to addressing the needs of our most vulnerable customers."
Burton emphasized that West Virginia American Water responded to the hardships that COVID-19 has had on residents and businesses by placing a moratorium on shutoffs and having local staff make more than 10,000 phone calls to eligible customers to encourage application for CARES Act utility assistance grants. He underscored that the company's rate request comes as a result of investments made long before and throughout COVID-19, and that any new rates will not take effect until early 2022. As part of this request, the company is proposing enhancements to its customer assistance program to further help water and wastewater customers in greatest need.
"We understand the current environment caused by the pandemic, but we also remain focused on meeting the future needs of our customers through sound infrastructure and public health protection," Burton continued. "I want to emphasize that this request is not driven by the pandemic and is based on our need to continue ongoing infrastructure improvements. We will work with the Commission to address any issues they raise while they review our request."
The company's request includes revenue increases totaling $40.8 million or 26.1 percent over the company's current rates. Factoring in the company's current Distribution System Improvement Charge on customer bills, the actual increase customers would experience totals $30.9 million in annual revenue or 19.7 percent over current rates.
For more information on the company's rate proposal and to find out what actions customers may take, please contact customer service at 1-800-685-8660 or visit westvirginiaamwater.com and select "Your Water and Wastewater Rates" under the Customer Service menu.
West Virginia American Water, a subsidiary of American Water (NYSE: AWK), is the largest investor-owned water utility in the state, providing high-quality and reliable water services to approximately 545,000 people. With a history dating back to 1886, American Water is the largest and most geographically diverse U.S. publicly traded water and wastewater utility company. The company employs more than 7,000 dedicated professionals who provide regulated and market-based drinking water, wastewater and other related services to 15 million people in 46 states. American Water provides safe, clean, affordable and reliable water services to our customers to help make sure we keep their lives flowing. More information can be found at westvirginiaamwater.com.
Connect with us: Facebook.com/wvamwater ● Twitter.com/wvamwater ● YouTube.com/wvamwater ● Instagram: @wvamwater
West Virginia American Water, a subsidiary of American Water (NYSE: AWK), is the largest investor-owned water utility in the state, providing high-quality and reliable water services to approximately 545,000 people. For more information, visit www.westvirginiaamwater.com and follow West Virginia American Water on Twitter and Facebook.
With a history dating back to 1886, American Water is the largest and most geographically diverse U.S. publicly traded water and wastewater utility company. The company employs more than 7,000 dedicated professionals who provide regulated and market-based drinking water, wastewater and other related services to 15 million people in 46 states. American Water provides safe, clean, affordable, and reliable water services to our customers to help make sure we keep their lives flowing. For more information, visit amwater.com and follow American Water on Twitter, Facebook, and LinkedIn.


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Carriera
La notorietà di Cazwell nasce e si consolida partecipando come ospite e dj in varie serate della scena LGBT statunitense, come il BoysRoom di New York.

Nel 2006 pubblica il primo album, intitolato Get Into It; il singolo trainante è All Over Your Face, che ha suscitato discussioni e censure a causa del testo esplicito e delle immagini di esplicito contenuto erotico nel video.

Nell'estate del 2007 Cazwell partecipa al True Colors Tour di Cyndi Lauper, che quell'anno tocca quindici città nordamericane; gli introiti dell'evento vengono destinati al finanziamento di diverse associazioni LGBT.

In seguito Cazwell pubblica altri singoli: nel settembre 2008 è la volta del brano I Seen Beyoncé...; nel 2009 appare nella puntata finale del programma TV America's Next Drag Queen e pubblica il singolo Tonight che campiona un brano della cantante Shannon intitolato Give Me Tonight. Il 1º settembre 2009 arriva quindi il secondo album, Watch My Mouth, contenente tutti i precedenti singoli di Cazwell, con l'aggiunta di alcuni brani risalenti al suo debutto.

Nel 2010 Cazwell pubblica un nuovo singolo, Ice Cream Truck, il cui video, pubblicato su YouTube il 30 luglio 2010, ottiene un grandissimo successo in rete, venendo molto condiviso sui social network anche da parte della comunità gay italiana.

Discografia

Album
2006 – Get Into It
2009 – Watch My Mouth
2014 – Hard 2 B Fresh

Singoli
2006 – All Over Your Face
2007 – Watch My Mouth
2008 – I Seen Beyoncé...
2009 – Tonight
2010 – Ice Cream Truck
2010 – Get My Money Back
2011 – Unzip Me (feat. Peaches)
2012 – Rice and Beans
2013 – Guess What? (feat. Luciana)
2013 – No Selfie Control
2014 – Helen Keller (feat. Manila Luzon, Roxy & Richie Beretta)
2014 – Dance Like You Got Good Credit (feat. Cherie Lily)
2015 – Downtown

Collaborazioni
2006 – Colton Ford That's Me (featuring Cazwell & Stephen Reed)
2006 – Peppermint Servin' It Up! (featuring Cazwell)

Voci correlate
 Homo hop
 Ari Gold (cantante)
 Colton Ford

Altri progetti

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


This box-pressed toro is a tightly-rolled maduro featuring a flawless Nicaraguan wrapper. As per Robert Spoden's advice, I enjoyed it with a glass of red wine (a nice Rhone) and found it a perfect accompaniment to this cigar's full-flavored spiciness. It had a real kick, but it was never unpleasant or harsh. With its perfect construction, I can definitely recommend the Full Sail.


It is hard to determine the impact Expo Milano 2015 World's Fair has on the ongoing recovery (albeit, slow) in Milan's real estate market.
Despite different perceptions, real estate brokers agree that the turmoil due to upcoming World's Fair in Milan in May has contributed to boosting a sector that has experienced years of severe crisis. The main signs at the national level come as usual from big cities. And Milan is no exception.
According to the latest data from the Italian Revenue Agency on residential sales, in fact, in the third quarter of 2014 purchases of homes rose by 9.6% in the main eight Italian cities, compared with a national average of 4.1% the year before.
In Milan, the growth was 6.8%, but in the previous period, it had been twice the national average. What is more the city posted a gain for the fifth consecutive quarter: the only case in Italy. This is certainly little compared to the boom years, but the change of direction seems to have been achieved.
Undoubtedly, the trend is first and foremost due to other factors – mainly the easier access to mortgage loans, more than anywhere else in the North, and the slowdown in the fall of prices that raised expectations of buyers who had postponed purchases that prices are about to start to rise.
Nonetheless, Expo Milano 2015 and its supply chain have contributed too, along with the "engine" powered by the new developments that have taken place in the city in recent years, above all Porta Nuova and Citylife.
This is where the residential industry joins the service and trade sectors, and where Milan is gaining ground in the eyes of international investors: in the "ranking of attractiveness" of European cities issued by PwC, the Lombard capital has moved from 24th to 12th position.
The recovery, however, has not yet affected prices, which are still falling, mainly because of the strong supply (there is a long stand-still period to be disposed of) but also the weak demand, scattered here and there across the city.
According to report from Scenari Immobiliari, the "Expo effect" will occur mainly in the medium term, with prices that will rise up to 14% in the next 5 years. But in some central districts prices are already going up — or at least holding on to the real values of a few years ago, as in Garibaldi, Magenta or Brera areas.


text:
Products and Services / Standards & Publications / Journals / Journal of ASTM International
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Volume 8, Issue 1 (January 2011)
Hydride Platelet Reorientation in Zircaloy Studied with Synchrotron Radiation Diffraction
(Received 8 February 2010; accepted 23 October 2010)
Published Online: 2010
CODEN: JAIOAD
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Hydrogen ingress into zirconium alloy fuel cladding in light water reactors can degrade cladding performance as a result of the formation of brittle hydrides. In service, hydrides normally precipitate in the circumferential direction and are homogeneously distributed through the cladding thickness in ideal cases. However, temperature and stress gradients in the cladding can promote hydrogen redistribution. This hydrogen redistribution is responsible for the formation of hydride rims, dissolution, and reorientation of hydride precipitates and for the formation of brittle hydrides at stress concentration locations, all of which can reduce cladding resistance to failure. Thus, it is crucial to understand the kinetics of hydride dissolution and precipitation under load and at temperature. Studies of hydrogen behavior in zirconium alloys are normally performed post facto, which causes them to suffer both from a scarcity of data points and from the confounding effects of studying hydrides at room temperature that might be dissolved at higher temperature. In the current study, we have used synchrotron radiation diffraction to study the kinetics of hydride precipitation and dissolution in situ (under load and at temperature). Samples of hydrided Zircaloy-4 were examined in transmission by using 80 keV synchrotron radiation while undergoing heating and cooling in a furnace. Temperatures ranged from 20 to 550°C, and loads from 75 to 100 MPa were applied. The hydrides dissolved and reprecipitated in a different orientation when sufficiently high loads were applied. Through careful study of the intensities and full-width half maxima of the diffraction peaks as a function of time, load, and temperature, it was possible to identify the characteristic diffraction patterns for the reoriented hydrides so that the kinetics of dissolution, reprecipitation, and orientation of the hydrides could be followed. The analysis of the diffraction patterns allowed a detailed understanding of the kinetics of hydride evolution under temperature and stress, as presented in this work.
Colas, Kimberly B.
Dept. of Mechanical and Nuclear Engineering, Penn State Univ., University Park, PA
Motta, Arthur T.
Daymond, Mark R.
Dept. of Mechanical and Materials Engineering, Queen's Univ., Kingston, ON
Kerr, Matthew
Almer, Jonathan D.
Advanced Photon Source, Argonne National Laboratory, Argonne, IL
Stock #: JAI103033
DOI: 10.1520/JAI103033
Title Hydride Platelet Reorientation in Zircaloy Studied with Synchrotron Radiation Diffraction
Symposium ,
Committee B10


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Elmore Dixie Beggs, Sr. was an attorney and judge in Pensacola.
Born in Madison, Florida, Beggs attended both the South Georgia Agricultural College and the University of Georgia before returning to Madison and going into the newspaper business. He became editor and publisher, and later owner, of the Madison Recorder. He eventually tired of the business and decided to pursue a career in law, and was admitted to the bar at Madison in 1886. After his father's death a year later, Beggs moved to Kissimmee, Florida, serving as attorney for Osceola County, attorney for the town of Kissimmee, president of the town council, and Mayor of Kissimmee.
Beggs remained in Kissimmee until 1896, at which time he moved to Pensacola. He married Lily Clubbs, daughter of prominent local citizen A. V. Clubbs, shortly thereafter. Beggs continued to practice law in Pensacola, and held the position of Judge of the Court of Record in 1896 and from 1902 to 1913. He also served as member and chairman of the Water Front Commission. In 1918 he was elected to the Escambia County School Board, on which he served until 1931, at which time he retired from his seat in order to focus on his legal practice. He retired from his practice in 1937 and died on February 13, 1940.
This page was last modified on 6 July 2008, at 04:53.


text:
Q: TFS 2012 Team Build and Web Application Deployment - ERROR_USER_NOT_ADMIN We have a solution consisting of several class libraries, and a Web
Application Project.  We are using TFS 2012 with Team Build.  The solution
compiles correctly on the build server.
I am currently trying to do this via MSBuild Arguments.
/p:DeployOnBuild=True /p:DeployTarget=MsDeployPublish
/p:CreatePackageOnPublish=False  /p:MSDeployPublishMethod=RemoteAgent
/p:MsDeployServiceUrl=https://testWebServer:8172/MsDeploy.axd?site=direct /p:AllowUntrustedCertificate=True
/p:DeployIisAppPath="direct"
/p:AuthType=NTLM
The solution builds but does not deploy.  I get the following error message:

msdeploy error ERROR_DESTINATION_INVALID: Web deployment task failed.
  ( Could not connect to the remote computer ("https"). Make sure that
  the remote computer name is correct and that you are able to connect
  to that computer.  Learn more at:
  http://go.microsoft.com/fwlink/?LinkId=221672#ERROR_DESTINATION_INVALID.)
  [C:\Builds\1\ProjectName\Solution General Build\Sources\Temp
  Source\ProjectName\Solution\Project.csproj]

Is there another argument I should be passing to specify the server?  I did
not intend for https to be the server name...  I have tried omitting the
https:// to no avail, error is the same, so it is getting the value from
somewhere.
I have tried this with the following values for MsDeployServiceUrl:

*

*https://testWebServer:8172/MsDeploy.axd?site=direct

*https://testWebServer:8172/MsDeploy.axd

*"https://testWebServer:8172/MsDeploy.axd?site=direct"

*https://192.168.X.X:8172/MsDeploy.axd?site=direct

*"https://192.168.X.X:8172/MsDeploy.axd?site=direct"

*testWebServer:8172/MsDeploy.axd?site=direct
Update
Alright, the following is at least connecting:

*

*/p:MsDeployServiceUrl=testWebServer
I have seen numerous posts concerning that particular argument, and almost invariably they are a URL, not just a hostname (the ones that appear to be a hostname I thought were just written that way for brevity).
I am now, however, faced with a new problem.  I have made the Build Service Account (domain account) local admin on the webserver, and I am getting msdeploy error ERROR_USER_NOT_ADMIN as well as an Audit failure in the Security log.
Resolution
These are the MSBuild arguments I am currently going with.
/p:DeployOnBuild=True /p:DeployTarget=MsDeployPublish /p:CreatePackageOnPublish=False /p:MSDeployPublishMethod=WMSvc /p:MsDeployServiceUrl="https://SERVER:8172/MsDeploy.axd" /p:AllowUntrustedCertificate=True /p:DeployIisAppPath="siteName"
I am now getting ERROR_USER_UNAUTHORIZED.  Apparently I have either not set up the delegation correctly or the IIS Manager User I have created is somehow incorrect.  Regardless that will go in a different post if necessary.

A: What is the Server and IIS version, you are using?
IIS 6 uses Web Deployment Agent Service (MsDepSvc), whereas IIS 7 usually uses Web Management Service (WMSvc) which have different URLs (besides, you have to be an admin on the target server to execute MsDepSvc.
Can you try specifying
/P:MSDeployPublishMethod=WMSvc

Based on this article from Troy Hunt, Web Management Service (WMSvc) is using
.axd

URLs (the one you specify), whereas you are trying to force it use RemoteAgent publish method which seems to be inconsistent.
See this article for complete set of differencies between WMSvc and RemoteAgent publish methods.

A: I had a similar issue. To resolve the issue I tried the following steps:

*

*As it was a hosted server we had to make sure that the port 8172 was open (obviously).

*Creating a new login and set this up in IIS -> Deploy -> Configure -> Configure Web Deploy Publishing on the target server. I made sure that the password didn't have any spaces in to avoid the quotes issue just to be sure.

*Actually running a manual deployment from the build server.

*Finally specifying an IP address in the MSDeployServicerl:
/p:MsDeployServiceUrl=xxx.xxx.xxx.xxx:8172/msdeploy.axd

None of the web site names worked for me either. None of my parameters had quotes in. Of course if you leave a space in incorrectly in one of your parameters you will get the error:
MSBUILD : error MSB1008: Only one project can be specified

redpajama_set_name: RedPajamaStackExchange


We used Elevated Style Events for our wedding day coordination. However, I know Sese our wedding day coordinator went above and beyond the wedding day coordination. She and her team worked hard to make our day smooth and stress-free. I can't thank them enough for helping me enjoy my wedding day knowing everything was taken care of. They are very professional, personable, reliable, and very hard working. I felt like Sese and her team were an extension of my family. Sese made sure every single detail was taken care of.
I highly recommend Elevated Style Events! If you're looking for help for your wedding or other types of an event I promise you will be glad you had Elevated Syle Events by your side. They will take the stress of planning and coordinating so you can focus on enjoying your event.
Thanks, Bithia your wedding was such fun Wedding Day of coordination, with the fusion of two culture. I met you for the first time and it felt like we have known you guys for years. You and Caleb are such a lovely couple and I wish you guys nothing but Love & Blessings.
Sese was splendid throughout the entire planning process. She is easy to work with and always comes up with the most fun ideas.
Sese perfectly created the Wow! effect.
It was elegant and beautiful!
Thank you Sese! Thank you!!
Working with Elevated Style Events was one of the best decisions we made for our wedding. Sese was so great to work with from the start! She was professional and responsive and helped alleviate a lot of our planning stress and worries. At rehearsal and on wedding day, Sese was on top of everything, from our decorations to our timeline to communication with our vendors and packing things up at the end of the night--and everything in-between. We would recommend Elevated Style Events to anyone!
Elevated Styles takes your ideas, dreams and goals and gives them life in a grand style. She is able to work within your budget while still giving you style and class in your event.
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I highly recommend Elevated Styles Events for any wedding planning. Sese was simply put, perfect! She is professional and very easy to work with. She worked with our budget to deliver a very lovely and elegant wedding. Sese, you are the best!


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text:
'Jan Balet: Living Art'
Paintings by Ballston Spa man's father featured in new book, will be on exhibit
Indiana Nash
@Indijnash
Jan Balet's "Market Day in Normandy"; Balet in his later years; the cover of the new book featuring his work.
Photographer: photos provided
BALLSTON SPA -- Loved ones are never really gone until they're forgotten. And if the Balet family has anything to do with it, Jan Balet will never be forgotten.
Balet was an artist, author, art director and visionary. Although he died in 2009, some of his work remains on exhibit throughout Europe.
His son, Peter, and Peter's wife, Marie, both Ballston Spa residents, hope to put a spotlight on his work in the United States, where Balet found commercial success in the 1940s and 1950s. Together, with help from local professors and art experts from around the world, they've published a book, "Jan Balet: Living Art," honoring his work and, to some degree, his life.
And what a life it was.
Balet was born in Germany in 1913 and had a bit of a troubled childhood; his parents divorced when he was young and he was kicked out of several schools. He eventually found a school that worked for him: art school.
Above: Jan Balet's "Untitled."
Balet opened a studio of his own in 1933. However, shortly before World War II he had to join the German military. Concerned with the way Germany was treating its Jewish population, Balet was able to flee the country and head to America in 1938 (a year before the war began).
After coming to the United States, his artistic talent became well known. During the 1940s through the 1960s, Balet was an art director and artist for top women's magazines and a successful advertising artist in New York City. He designed cover art for the "Saturday Evening Post," and did advertising work for CBS' "Captain Kangaroo" among others.
During those years, Peter Balet was born. It was during this time that he actually began to illustrate and write his children's books.
" 'Amos and the Moon' was actually supposed to be 'Peter and the Moon.' " said Peter.
But Peter and the Wolf was published a few months beforehand so the publisher decided to change it, according to Peter. But Balet didn't stop there. With his remarkable imagination, he also created "The King and the Broommaker," "The Five Rollatinis," and he illustrated a rather famous version of Hans Christian Andersen's "The Princess and the Pea and Other Famous Stories."
There's an intense dream-like quality to Balet's work, which was perfectly suited to children's literature and magazine work. The way he expressed it changed throughout the years and depended on the medium, but it was certainly what made a Balet a Balet.
Later in life, tired by a life fueled by deadlines, Balet moved back to Europe where he spent the rest of his life painting and being part of exhibitions.
"He was tired of 'I need it by Friday,' " Peter said.
Balet's paintings became well known in Europe and often sold for thousands of dollars and Balet caught the attention of the media and was interviewed on national television in Switzerland.
Although the two were geographically far apart, Peter and his father kept in touch through phone calls and letters. Much like Van Gogh would sketch out a small version of whatever piece he was working on in letters to his friends and family, Balet sent lithographs of whatever project he was working on at the time. Peter and his wife Marie visited him frequently during the 1990s and remained close until he died in 2009.
"We inherited all this artwork [and] neither one of us have an art background," Peter said.
But they knew they wanted to somehow honor Balet's life and work. So they turned to local art professionals and the curators in Europe who had exhibited his work in the past.
They teamed up with Sheldon Hurst, a professor emeritus at SUNY Adirondack and an art curator for Portland, Oregon's ArtReach Gallery, Di Kivi, an English professor at SUNY Adirondack, and Norman Taber, a professor at SUNY Plattsburgh to write "Jan Balet: A Living Art."
"It was almost like he was three different artists," Marie said, which is reflected in the book's essays. Prints of Balet's paintings and sketches are intermixed with the essays, revealing the breadth and width of Balet's career.
Take "Market Day in Normandy." It's a busy work, featuring figures with eyes so dark they seem to disappear into the head. Or "Untitled," a figure looking out at a desolate land and this lightly drawn city in the distance. It's not clear if the city is a mirage or not or why the figure is looking at it with his hands on his head.
Balet's work was sometimes categorized as naivete artwork, like Grandma Moses. But it was a label that he rejected. Instead, as "Jan Balet: Living Art" points out, he preferred to apotheosize the ordinary to make it, in some way, extraordinaire.
Viewers often wonder about his work and about the artist behind it. Thus, along with the book, there will also be an exhibition of his work titled "What Was He Thinking? Jan Balet: Watercolors and Lithographs." From Sept. 5 through Nov. 8 at SUNY Adirondack's Visual Arts Gallery. As a traveling exhibition, it's been to galleries in Portland, Oregon, and SUNY Plattsburgh already.
They hope the book and the exhibition bring the artist back into the spotlight. "To put him back in the eyes of the public," Peter said. And hopefully, to keep him there.
For more information on "Jan Balet: Living Art" and on Balet himself, visit janbalet.com or look for the book on Amazon.com.
On Exhibit: State Museum looks at 'Art of the Erie Canal'
On Exhibit: Native American stereotypes stirred up


text:
Workplace Parking Levy – Transport (Scotland) Bill Amendments – May 19
3 July 2019 Fiona Montgomery
Rural Economy and Connectivity Committee – Transport (Scotland) Bill – Workplace Parking Levy Amendments – UNISON Response
UNISON Scotland strongly supports action to tackle climate change and to reduce car use in a wide range of ways. The most important and effective way is to invest in an integrated sustainable public transport system. We want to see the railways re-nationalised and buses re-regulated with more public and community ownership.
In terms of the Transport (Scotland) Bill, as noted in our response[1], we would want to see amendments to ensure more councils can run municipal bus companies.
We are for strong local government. As such, we do not oppose a general enabling power to introduce a WPL. It is the specifics proposed that are problematic for a number of reasons, including the exemption for NHS workers, but not other public sector – or voluntary or private sector – workers whose roles may be extremely important and who may feel they too should qualify for exemptions. What about low paid women in social care, for example? Such policies should be transparent and fair and take account of people's circumstances, including family responsibilities, shift work, access to public transport etc.
In our climate work over many years, we argued that this kind of measure has to, as a minimum, be negotiated with recognised trade unions through green workplace agreements to ensure fairness in how it is applied and exemptions for a range of workers for whom car use is essential.
It is argued that not all employers will pass the levy on to their staff, but in Nottingham, our members found that increases to the WPL were widely passed on, had hit members hard and were not applied in a fair way. UNISON members were in a recent dispute with the council after it proposed changes which led to a 60% increase in the levy charges for hundreds of low paid staff.
The way to get people out of their cars and into buses and trains and cycling and walking is by making public transport work for people instead of allowing the shockingly poor performance of ScotRail and the shockingly expensive pricing of the bus monopolies.
We need more funding for active travel and more municipal bus companies, like Lothian Buses. Not the current position of what are in effect local bus monopolies that fail to provide decent evening and weekend services or to cover outlying and rural areas.
Many of our members can't afford cars and have to rely on those outrageously expensive buses or face the shocking overcrowding, cancellations and stop skipping that we have seen too much of on ScotRail trains.
We say nationalise the railways and re-regulate the buses. Support for public transport is a win, win, win on improving health, on cutting air pollution and on tackling climate change.
[1] https://unison-scotland.org/wp-content/uploads/UNISON-Transport-Bill-Submission-Sept18.pdf
busesclimate changeGreen Workplacenofronttransport
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St Albans. For me the name conjures up visions of centurions, chariots and colosseums. Verulamium, as the Romans called it, has been around for a long time. In fact, there was a Celtic village on the same spot way before Caesar and his mates arrived. That's Celtic as in ancient people rather than a load of Glaswegians in hooped shirts.
So, this Saturday, I filled up my modern day chariot will petrol and headed off for what was a double first for me. It was my maiden visit to St Albans City and, I had also managed to persude a Gooner colleague of mine to leave his armchair and brave the non-league scene. His initial questions about getting tickets and 'would we be able to sit together' just highlighted the gulf between the elite and 'proper' football.
The stadium itself is situated a little outside of St Albans city centre, close to the train station. A parking spot was easily found on York Road, just a short stroll to the entrance.
The entrance fee at Clarence Park is at the upper limit for this league at £12. However, the stadium does boast covered stands on 2 sides and open terracing behind both goals. The long stand, featuring seating, on the railway side of the ground could possibly create a fairly tight and intimidating atmosphere were the pitch not some distance away from the crowd. Having said that, St Albans do have a fairly large and nosiy contingent that stand behind the goal that they are attacking each half.
With only a single point between the sides at kick-off it was always going to be a tight game. Both teams were coming into the match on the back of 1-0 defeats, St Albans against Cambridge City and Stourbridge away at Hungerford.
Neither team seemed to be able to string many passes together and the first 20 minutes were littered with long balls. Then a defensive mistake lead to Ben Billingham hammering Stourbridge in front. From then on, until half-time, St Albans had the better of the play and were slightly unfortunate to go in 1-0 behind.
In the second half both sides looked to play more football and both made good chances to no avail.
Just past the hour mark came the decisive incident in the match. After winning the ball in an innocuous looking 50-50, St Albans keeper Paul Bastock kicked out at Will Richards for no apparent reason. Both linesman and referee saw the incident and duly signalled for a penalty. Bastock, luckily in my opinion, got a yellow card where he should have got a straight red. Sean Geddes stepped up and fired in his 7th penalty of the season to put the Glassboys two up.
Despite a late deflected goal for St Albans, Stourbridge held on for a much needed 3 points.
My Arsenal supporting friend enjoyed his day out and was pleasantly surprised by the the stadium, the game and most of all the enthusiasm of the supporters from both sides.
Do we have another convert to the non-league side of the game. I doubt it to be honest. The lure of comfy seats and multi-millionaire players will still probbaly be too much for him. Still you never know. He has already signed up for the Hitchin game at the end of the season.
Considering that Ardley is only 3 miles from my house and that I pass the ground on a regular basis, it is surprising that this was my first visit to The Playing Fields.
In recent years Ardley Utd have been in and around the promotion chasing pack of the Hellenic Premier League but have never quite made it. A few years back they lead the league for the majority of the season only to fade at the run-in and get pipped to the title by Wantage Town.
This season they have again started well and, after 6 games, remain unbeaten.
With a population of less than 700, Ardley are really punching above their weight. The fact that Tuesday was the day of the Ukraine v England match added to the expectation that the crowd would be limited to say the least. I was not disappointed, the offical attendance was 26.
The ground itself is situated on the edge of the village towards the M40 junction. There is a reasonable amount of parking available and finding a spot, even though I was quite late, was no problem at all. The single turnstile is at the car park end of the ground. Hard standing leads past a small stand behind the Oxford Road end and to the combined clubhouse, changing rooms and tea bar. At this point I will add that Ardley are now top of my Cup of Tea league, a good strong cup of tea at a proper price.
On the motorway side of the ground there is nother stand which boasts a seating area, a standing area and also houses the PA. The other 2 sides of the ground are open, hard-standing.
The pitch slopes a little from the Oxford Road end towards the village end but it did appear to be in very good condition.
Ardley, managed by former Oxford, Newcastle and QPR player Kevin Brock and featuring son Harry at left-back, started very brightly. The opening goal came just 2 minutes into the match when a swift break saw a right-wing cross headed in by leading scorer Ryan Brooks. However, 10 minutes later, the lively front 2 of Holyport created an opening and a big deflection saw the ball roll into the Ardley net for 1-1.
From that point onward, Ardley took control of the game. Two more first half goals followed and the home side went into the break 3-1 up. The second half followed the same pattern. Ardley played the better football but the 2 lads up front for Holyport did enough to keep the defence on it's toes. There was, however, only one outcome. Two more Ardley goals made it 5-1 just after the hour mark and the game was over as a contest. Ardley could have had a couple more, but 5-1 was a fair scoreline on the balance of play.
So, Ardley make it 7 unbeaten and look likely to be in the shake-up at the top of the Premier again this season.
On a final note, hats off to referee E. Turner. He never once stopped smiling or laughing even when faced with angry players and officials. He refereed the game with an exuberance which put me in mind of Jorge José Emiliano dos Santos (if you don't know who he was, Google him and watch the video). Of course, Mr Turner did not do the dancing or flouncing and I make the comparison in a complementary way. He did, however, display a great love of refereeing and football. Well played Mr Turner, you made a difficult job look very easy.
After not being able to get to any matches in the opening couple of weeks I kicked off my 2013-14 season in style last week with 3 matches in 5 days.
programme and headed off towards the clubhouse just as the teams made their appearance.
The clubhouse building at Daventry is very impressive.
A relatively new two-storey affair housing the bar, snack bar, toilets, changing rooms and, I am informed, a conference facility. Members who are so inclined can sit on the balcony with a light refreshment and have a great view of the match. There are also two small covered stands, one either side of the clubhouse. The rest of the ground is open hard-standing with a wooded area behind one goal and a group of 5-a-side pitches behind the other.
Communications Park is a very tidy ground which provides good facilities and is, all in all, a pleasant place to watch a game of football.
The match itself was very good, if not a little one-sided. Daventry ran out 5-0 winners thanks to some nice passing moves and a couple of excellent finishes.
Wednesday saw OCN take on Flackwell Heath and run out fairly comfortable 2-0 winners on the night. Court Farm Place is a great little stadium, covered on 3 sides with an open end behind one of the goals. This is also where the snack bar, toilets and clubhouse are located. It's a really good place to watch football and, even with a sub-100 crowd, the closed nature of the stadium creates some atmosphere.
Stour struggled to find any rhythm but managed to scrap a 1-0 win. To be honest, the football didn't matter too much. I t was just great to be back at Amblecote, with my Dad, watching football, just like I used to do when I was a kid.
So, in 5 days I had seen 3 matches, 8 goals, a saved penalty and loads of good football. The combined entrance fees for these matches came to just £23. This is significantly less than a single game in the Premier League. When you take into account that the last few games I have seen in the Prem have been pretty drab affairs, I call this very good value for money.
Non-league football is the future in my book. Good value, decent standard, honest football. No over-paid players, no dodgy money-induced decisions.
Roll on this evening. more Hellenic League action and my first visit to Ardley United.


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Home > New Delhi
New Delhi: Court directs jail authorities to provide medical aid to accused
Hans News Service | 24 Dec 2019 7:18 PM GMT
A Delhi court on Tuesday directed Mandoli Jail authorities to immediately provide medical treatment to one of those arrested in connection with a violent protest at Seelampur on December 17.
New Delhi (PTI): A Delhi court on Tuesday directed Mandoli Jail authorities to immediately provide medical treatment to one of those arrested in connection with a violent protest at Seelampur on December 17.
Metropolitan Magistrate Richa Parihar directed the jail superintendent to provide medical assistance to Moinuddin as he sustained serious injuries on his hand during the protest, and file a status report by December 25. The court was hearing Moinuddin's plea, filed through advocate Zakir Raza, in which he claimed that before being sent to judicial custody he underwent a minor surgery due to injuries sustained during the violent protest.
In the plea, he alleged that he was not being given proper medical treatment by the jail authorities due to which the condition of his injury was worsening and he required immediate medical care.
Another court has directed the Delhi Police to conduct an inquiry into whether one of the accused, arrested in a case related to a violent protest at Seemapuri on December 20, was a juvenile. It has asked the police to submit a report by December 27.
Metropolitan Magistrate Mayank Mittal has asked the SHO of Seemapuri police station to supervise the investigating officer in his inquiry to be conducted as per the provisions of the act and to oversee that it was completed within the time given by the court.
The court was hearing a bail application of the accused, who is in judicial custody in the case. The plea, moved by advocate Abdul Gaffar, claimed that the accused was a juvenile. During the hearing, the police said no age proof was given by his family members and no enquiry was done to ascertain his age. The investigating officer informed the court that after the arrest, the accused had said he was 20 years old.
The counsel for the accused, however, submitted his school certificates and other related documents to prove his age. The court directed the jail superintendent to shift the accused in a place of safety till the enquiry was being conducted and to take care of his health and wellbeing. His bail application would be considered after the verification of his age.
On December 21, the court had sent 11 people, arrested in connection with the violent protest at Seemapuri area, to 14 days' judicial custody.
Magistrate Richa Parihar
Metropolitan Magistrate Mayank Mittal


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Q: Laravel Sanctum auth:sanctum route allows access without bearer token I am trying to protect API routes with a bearer token using Laravel Sanctum.
I have added the middleware correctly for the route as follows in api.php. The api/me route is set to return auth()->user();
Route::group(['middleware' => ['auth:sanctum']], function () {
    Route::post('/me', 'App\Http\Controllers\APIController@me');
});

To test this, I first login successfully and generate a bearer token, so that is working fine.
However, when I try to access the api/me route without the bearer token, it still displays the full user. It is not supposed to be allowing access to the route without a bearer token, why is it doing that?
I've searched for hours but no joy - does anyone have any insight?

A: I'm just guessing here.. Did you "EnsureFrontendRequestAreStateful" in kernel.php?
Because then Sanctum will use Session-Cookie based authentication. Sanctum will only use the bearer token if you authenticate third party apps, that don't run on your domain or subdomain.
If you don't want to use session-cookie based authentication for your SPA remove the "EnsureFrontendRequestsAreStateful" class from kernel.php.
Now Sanctum will always use the bearer token for authentication.


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text:
Eine Autoprotease (Autopeptidase) ist ein Enzym, das sich selbst spalten kann, d. h. sich selbst zum Substrat hat. Die Autoproteasen lösen Peptidbindungen innerhalb des eigenen Moleküls und sind meist spezifisch für besondere Aminosäuresequenzen. Daher werden sie auch der Gruppe der Endopeptidasen zugeordnet.

Die Autoproteasen kommen häufig bei Viren vor, wo sie auch zuerst entdeckt wurden. Durch die Autoproteolyse eines Enzyms wird dieses entweder von einem größeren Vorläuferprotein abgetrennt und dadurch erst freigesetzt (z. B. bei den Flaviviridae und Pestiviridae) oder durch eine autoproteolytische Spaltung erst aktiviert, um ein anderes Peptid als eigentliches Substrat spalten zu können.

Von einigen Autoproteasen ist bekannt, dass sie zusätzlicher zellulärer oder viraler Kofaktoren bedürfen, um eine Aktivierung durch Autoproteolyse einzuleiten. Dies ist z. B. bei der NS2-Protease des Hepatitis-C-Virus beschrieben, die zur autoproteolytischen Spaltung und Aktivierung die NS3-Protease als Kofaktor benötigt. Durch die Abhängigkeit der Aktivierung einer Autoprotease von Kofaktoren spielen sie eine besondere Rolle in der Regulation von Protein-spaltenden Enzymen im Zellstoffwechsel und der Replikation von Viren.

Quellen

Weblinks
 Sequenzen von Autoproteasen (NCBI-Datenbank)

 Autoprotease
Posttranslationale Modifikation


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