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Home Expansions Downstream News Updates: Downstream
News Updates: Downstream
Solvay to double HMW HALS manufacturing capacity
Solvay will double the capacity of its Technology Solutions global business unit's high molecular weight (HMW) hindered amine light stabilizers (HALS) production facility in Willow Island, West Virginia.
The core HALS products currently produced at the site are the foundations for the CYNERGY® and CYXTRA® polymer additive product families that enable Solvay customers to transform the performance characteristics of polyolefin plastics into advanced polymers for specialty applications in building and construction, agricultural films, and a host of consumer and industrial uses.
The investment is for a second, fully independent HMW HALS manufacturing unit to complement the existing line at Willow Island and to be operational by mid-2019. Solvay will leverage the site's technological and operational talent and expertise, as well as the raw material and supply chain already in place, to accelerate the unit's build out.
For more information, visit www.solvay.com or call (609) 860-4000.
Sasol: Additional jobs to come
Sasol has hired its 500th employee for its $11 billion ethane cracker and derivatives project in Calcasieu Parish and expects to hire at least an additional 200 employees over the next two years to support its new operations, resulting in 700 new jobs.
These new, quality jobs have an average salary of $80,000 and are in addition to the more than 450 full-time positions that support Sasol's existing operations near Westlake. This will bring Sasol's employment to over 1,150 in Southwest Louisiana by 2019. An additional 1,000 contractors will also support Sasol's East and West Plants once new units reach beneficial operation.
Sasol will begin a phased commissioning of the seven new units in 2018.
For more information, visit www.sasol.com or call +27(0) 10 344 5000.
Cabot reduces activated carbon manufacturing capacity in Marshall
Cabot Corp. has indefinitely idled three of the seven production units at its activated carbon manufacturing facility in Marshall, Texas.
The decision was driven by the need to better match the business's production capacity and cost structure with the current demand for powdered activated carbon in North America. Demand for powdered activated carbon following the implementation of the Mercury and Air Toxics Standards regulation has been lower than originally expected, resulting in overcapacity.
Cabot expects this action plan to result in a pre-tax charge to earnings of approximately $9 million, of which less than $1 million is cash. Annual savings related to this action are estimated to be approximately $6 million, of which approximately $5 million is cash.
For more information, visit www.cabotcorp.com or call (678) 297-1300.
ExxonMobil begins production on Mont Belvieu polyethylene line
ExxonMobil Chemical Co. has commenced production on the first of two new 650,000 tons-per-year high-performance polyethylene lines at its plastics plant in Mont Belvieu, Texas.
The full project, part of the company's multibillion-dollar expansion project in the Baytown area and ExxonMobil's broader Growing the Gulf expansion initiative, will increase the plant's polyethylene capacity by approximately 1.3 million tons per year.
The Mont Belvieu plant capacity will total more than 2.5 million tons per year, making it one of the largest polyethylene plants in the world. These performance polyethylene products will deliver significant sustainability benefits, enabling lighter-weight, higher- performance packaging, lower energy consumption, and reduced emissions.
A significant portion of Mont Belvieu polyethylene will be exported from the Port of Houston. At peak, the site will ship more than 200 containers a day.
For more information, visit www.exxonmobilchemical.com or call (971) 444-1000.
View in Digital Edition
ExxonMobil Chemical Co. Cabot Corp. Downstream Solvay Sasol Expansions


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Wednesday 16th May 2012 - At Wallingford Sports Park Thursday 17th May 2012 - At the Bear, and Bird...
Wednesday 16th May saw everyone in the Car Park at WSP. So pleasant when it's warmer. 8 players turned out so they played doublettes. One member had a lovely set of brand new Boules Bleu. We were all most envious. The newest newcomer shows promise to be a good shooter.
And so on to Thursday, 17th with a visit to the Bear at Home in North Moreton. When they play there the Pub's petanque piste is used. Part of it is very good, but the bottom part has been used for bonfires so the ground is 'dead'. Good practice! The Aunt Sally* pitch is also used. Both pitches go uphill, or downhill, depending where you are standing. Everyone likes playing on the Aunt Sally pitch as the downward direction is nice for plombé and the uphill, which includes the pole, has some interesting opportunities.
*Aunt Sally is a game, similar to skittles, played in Oxfordshire (and a few other English Counties. It involves putting a 'dolly' on a pole, and then hurling chunks of wood at it to try to knock it off. If you hit the dolly you score a point. If you hit the pole, you don't. It also appears to involve a lot of noise because the blackboard used for scoring has 'NEIGHBOURS!' chalked on it. We use the blackboard for our scoring too, and we try to keep our noise down! This is also where the bird likes to sit ... see below.
One of our players (C) arrived with her camera. T noticed C staring at the blackboard for a long time. Funny that, she thought, the score is not that interesting. When she got back down to that end she saw that C was in fact looking at a collared dove sitting on the pole supporting the board. G also saw the bird and invited it to sit on his hand. After a while it flew off and sat on T's head! T looks a bit anxious - it could have left her a lucky present ...
It eventually flew back to its perch in the tree and everyone played some more. But it was determined to join in and flew out and sat on P's head.
It eventually flew back to its perch in the tree and everyone played some more. But it was determined to join in and flew out and sat on P's head
G went to remove it and it sat on his head!
Much fun was had by all. Perhaps it will still be there next week.

redpajama_set_name: RedPajamaCommonCrawl


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The gallery is currently closed.
A People's Archive of Sinking and Melting
The gallery is temporarily closed for essential maintenance. We look forward to welcoming you back very soon.
Hanne Darboven / accepting anything among everything
31 Jul - 03 Oct 2015
Installation view, 'Hanne Darboven / accepting anything among everything', 2015. Image courtesy Talbot Rice Gallery, The University of Edinburgh
The first major exhibition in Scotland of Hanne Darboven (1941 – 2009) offers a profound insight into the scale of human endeavour and comprehension. Showcasing the work of one of the last century's most important conceptual artists, Talbot Rice Gallery will be covered by hundreds of framed objects, creating a spectacular monument to an extraordinary individual.
Becoming part of a generation of artists who challenged the way that art was understood and produced, Darboven went to New York to "find something I could work on for my whole life," encapsulating the commitment she would make to a singular process. Based in Hamburg from 1968 onwards she became a 'worker' fulfilling a self-imposed duty to complete a predetermined series of actions day after day. Generating hundreds and even thousands of individual sheets for each work her simple processes extend rational systems of ordering information to the point where their meaning breaks down, giving way to what some have described as a 'surplus of the real'.
Darboven's work occupies a unique position within art history, somehow managing to be at once impersonal and devastatingly revealing. Working across vastly different scales, 'accepting anything among everything' opens out onto the overwhelming and endless progression of time and knowledge, whilst marking an individual's action within it.
Realised in collaboration with the Hanne Darboven Foundation, Hamburg, and Sprüth Magers, Berlin and London. Supported by Creative Scotland, Goethe-Institut, Glasgow, and the Henry Moore Foundation.
Hanne Darboven, 'Life, living 1997-1998,' 1998. Installation view, 'Hanne Darboven / accepting anything among everything', 2015. Image courtesy Talbot Rice Gallery, The University of Edinburgh
Hanne Darboven, 'Co-workers and friends,' 1990. Installation view, 'Hanne Darboven / accepting anything among everything', 2015. Image courtesy Talbot Rice Gallery, The University of Edinburgh
Published on the occasion of 'Hanne Darboven / accepting anything among everything' at Talbot Rice Gallery, The University of Edinburgh.
Texts by Miriam Schoofs are available to view below or download.
One of the most intriguing artists of the last century, Hanne Darboven (1941–2009) created a vast body of idiosyncratic works documenting her own systematic way of dealing with the weight of world history and culture. The first major exhibition in Scotland of her work, 'accepting anything among everything' is an unmissable mediation on the incalculability of experience.
In Gallery 1 is 'Life, living 1997-1998' (1998), an installation of 754 framed works 'reckoning' the years from 1900 to 1999 and Darboven's experimental film, 'Four seasons. The moon has risen, opus 7, act I + II' (1982–83). Upstairs, the work 'Co-workers and friends' (1990) is accompanied by Walter Smerling's documentary film 'Hanne Darboven, My secret is that I have none.'
Gallery 2 centres upon an island of objects from Darboven's home studio, reflecting the extensive encyclopaedic 'nucleus' of her work. Two photographic portraits by Hermann Dornhege complement the exhibition, along with a new essay by writer and curator Miriam Schoofs, contained within this guide.
The exhibition has been realised in collaboration with the Hanne Darboven Foundation, Hamburg, and Sprüth Magers, Berlin and London. Supported by Creative Scotland, Goethe-Institut, Glasgow, and the Henry Moore Foundation.
The Large Studio
Hanne Darboven's Material World as "Work in Progress"
Miriam Schoofs
The family home and studio "Am Burgberg" in Hamburg-Harburg plays an important role in the life and work of the German conceptual artist Hanne Darboven. It was here that she lived until her untimely death in February 2009, leaving the seclusion of the family seat only for a two-year stay in New York during the mid-1960s. The gradual transformation of the buildings into a large studio complex is described within her serial writings in numerous notes and drawings, in her extensive correspondence and in her mother's family albums, which testify at the same time to Darboven's close ties to her parents' home and to her origins.
The house is filled to the rafters with an extensive collection of art and artifacts, crafts, souvenirs, trinkets and curios from around the world, including the artist's own works as well as gifts from other artists. In this it resembles more a cabinet of curiosities rather than a classic artist's studio. Walter Smerling compares the interior of the studio building to "an extraordinary Museum of Modern History covering the last two hundred years" and describes the Darboven cosmos as a "different world", which requires a new way of seeing and experiencing.
In the words of Klaus Honnef, the exhibition installations of her works, which are increasingly complemented by three-dimensional objects, are a "panoramic sensuously experienced world-incarnation" and he attributes to Darboven a quest for a "total work of art". Elke Bippus compares the exhibition of 'Kulturgeschichte 1880–1983 (Cultural History 1880–1983, 1980–1983)' to a "room-filling smorgasbord" and an "archive" in which the great narratives of modern cultural history are preserved: "The polarity between town and country, between public and private, photography and the Hollywood film."
Darboven gradually moved from one room to the next, filling each with the innumerable items from her collection. Once all the rooms of the house had been filled, transforming former living areas into studio areas, she added more space through renovations and the addition of new buildings. Each room and each desk is now evidence of a particular phase in the life of the artist, and most are linked to the respective stages of her work and their particular subject areas. These are expressed through related props and motifs in the form of visual materials and collected objects on work tables, forming thematic ensembles. The themes of her work can be dated like archaeological layers, each representing an era of artistic inspiration, with each ensemble appearing as one of many possible choreographies of objects throughout the house. In Darboven's system everything has its own meaningful space, in the relationships she has established and the scenarios she has presented. The visitors who squeeze through the narrow passages in this orchestrated world are asked to form their own pathways and associations. This is also the case in the large exhibition sections of Darboven's work, some of them supplemented with objects chosen from the studio house, where it is up to the viewer to grasp the significance of the relationship between the paper works covering the walls and the sculptures and everyday objects accompanying the three-dimensional displays.
Except for the occasional removal or addition of individual objects, the cluttered studio spaces themselves resemble a "museum", as Darboven herself sometimes called it, or else, "my collection".
The accumulated objects can be roughly divided into those bought or commissioned under particular themes, those related closely with the origins and history of the Darboven family, and finally those in the form of gifts and souvenirs, often brought by fellow artists and friends and gradually integrated into the ensemble in the house. The shop furniture, billboards and coffee cans, for example, are reminders of the family's coffee business. Last but not least, the many souvenirs mirror the cosmopolitanism of Darboven's upper-class background, with the commercial and open-minded mentality of her Hanseatic father and the hospitality of her Danish mother. Overall, the objects create a complex synthesis of contemporary history with the artist's own biography.
At the same time, the collection in the studio building served as a source of material for the artist's works. Thus, for example, Darboven used photographs of individual objects as a leitmotif or integrated whole series of photographs as in the case of 'Bilddokumentation ›79‹ (Picture Documentation ›79‹' (1979) for the work entitled 'Bismarckzeit (Bismarck Era, 1979),' which portrays selected objects from her studio house in the form of an illustrated encyclopedia of technical, intellectual and historical symbols of modernity since the Enlightenment. She placed individual objects with certain works in an exhibition context together with framed works on paper. Beginning initially with sculpture and busts, she incorporated everyday objects, crafts and, increasingly, elements of pop culture from her collection into her exhibition presentations. Hanne Darboven's passion for collecting and her artistic work are therefore not unconnected to one another. As a collector, she was always concerned with the environment of her work, and the objects of her collections embody a sense of the leitmotifs of her artistic work: writing and arithmetic, scientific and intellectual progress, technological development, history, colonialism, trade and time.
Darboven's largest worktable is in the so-called "large studio", a spacious, light-flooded room with skylights, extended into the space of the former stables in 1975. Here, for many years, Darboven received her guests in a small kitchenette, which was separated from the sprawling and cluttered table by a life-sized wooden horse that she had commissioned from the carpenter Hans-Heinrich Reese.
The tabletop is cluttered with all sorts of objects: a Tiffany lamp, small sculptures, busts and figurines, stuffed birds, vases and jewellery dishes, dried flowers in little baskets, candlesticks, the obligatory ashtrays and various writing utensils. On one side of the table a floor lamp rises in the form of a cobra. In the artist's armchair, in her place, sits a doll in a child seat. Opposite this, a wooden figure of a golfer has been installed. The chair at the head of the table is enthroned by the figure of a witch, while the foot of the table is decorated with a metal bust of the "King of Rock 'n' Roll", Elvis Presley. The arrangement of antique objects, gems and everyday objects populated with such diverse characters, and the staged nature of the collections, bring to mind classical still lifes as well as surrealist compositions. Darboven, however, follows her own principles – as she does in her characteristic works on paper. She brings together elements from different worlds of ideas, mixing the classical canon of knowledge with peripheral or private anecdotal issues and materials. She always assembles a multitude of voices that seem to effect a chaotic cacophony, but on closer inspection turn out to follow a complex ordered scheme with idiosyncratic laws – just like her calculations, her writing systems and her musical scores. Darboven herself spoke of her system as "mathematical prose" and "mathematical music", by means of which she defended herself successfully against any kind of political usurpation: as opposed to words, figures always refer only to themselves, and are therefore "sovereign and independent".
Equally remarkable are the many postcard-sized wooden picture frames that are scattered like a kaleidoscope on the big table, filled with personal notes and musical scores, but especially with postcards, as well as with family photos and pictures of artist friends such as Roy Colmer, Sol LeWitt and Lawrence Weiner, as well as group photos of her employees. 'Mitarbeiter und Freunde (Co-workers and Friends, 1990)' is even the title of a very personal work by Darboven, incorporating a series of photographs of the legendary family and company parties of the Darbovens, which gives a vivid impression of family life and testifies to the close connection of the artist with her employees and friends. On these occasions her mother, and later Hanne Darboven herself, regularly invited a Gypsy band to play for them. Rarely does one see the androgynous woman as relaxed and happy as in these pictures.
Photography and postcards are used by the artist as the classical media of "the age of technological reproducibility" according to Walter Benjamin; so are the greeting and trading cards Darboven often integrated into her works. They are applied to communication media, cultural techniques and forms of reproduction of the previous century, which Darboven often discussed along with arithmetic, writing and offset printing in her works. Perhaps the vast collection of postcards by Sol LeWitt, who was a passionate collector of artworks himself, provided an encouraging example, and Darboven was also very familiar with "Mail Art" and was a lively correspondent via mail herself.
Finally, the family seat "Am Burgberg" appears throughout her work as both text and image: in the form of personal comments, as a supplement to her signature or even replacing it – "HD, Am Burgberg" or "Am Burgberg". By mounting postcards and photographs of the interior of her studio house, Darboven allowed a quasi virtual tour of the house, thus providing a glimpse into her personal living and working environment.
The alleged discrepancy between disciplined restriction on the one side and obsessive passion for collecting on the other, between conceptual sobriety and self-indulgence, between the avoidance of any emotion and an unabashed tendency to kitsch infused Hanne Darboven's life and work. Darboven herself speaks of her oscillation between rational rigor and the expansive material world as "Maximal Art" – and defies any conventional categorization of her work. Like Marcel Duchamp's 'Large Glass,' which the artist spent years creating, Hanne Darboven's "Large Studio" was itself, like her continuous writing, a work in progress and a life-time project – a Gesamtkunstwerk "definitively unfinished."
Miriam Schoofs is a curator and author based in Berlin and Hamburg. She was researcher of the Erika Hoffmann Collection in Berlin and curator of the Falckenberg Collection, Hamburg. Since 2013, as PhD candidate in art history, she has been researcher, curatorial consultant and writer for several Hanne Darboven presentations and exhibitions and is a member of the advisory board for the Hanne Darboven Foundation, Hamburg.
Pine's Eye
The Extended Mind
Myriam Lefkowitz / Walk, Hands, Eyes (Edinburgh)
Samson Young / Real Music
Trading Zone 2019
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Old College, South Bridge,
Edinburgh, EH8 9YL


We are teaching a children's class from 6:00pm-7:00pm on Thursday at our Harrow Dojo. The class will cost £5.00 and will be for children from 5-14 years.
Aikido is an ideal martial art for children.
Aikido helps children at school. They learn to absorb knowledge more easily, and to think with greater clarity and awareness. By practising in this way, children can't help but apply this to their daily lives.
The children also learn to develop calm, confident and clear minds. Of course, children shouldn't be calm all the time. But Aikido gives them the choice. If they need to sit still at school, concentrate on homework, or focus during sports, Aikido shows them exactly how to do that. The techniques will teach correct calmness. This is different from keeping their emotions bottled up. Aikido calmness feels good.
Aikido does not rely on size, speed or gender. Actually if they use their bodies correctly, it is possible for children to throw adults.
There is no competition in Aikido. The children take turns throwing and being thrown. In that way they learn that it is always better to work together.
I have been practising AIkido for over twenty years and teaching for over ten. I am a registered coach with the British Aikido Board and am also DRB checked.
Our child protection policy can be found on the British Ki Society website.
For more information, give me a call on 07973 626518, or use the contact us page.


text:
Samsung Bioepis and Biogen Announce FDA Filing Acceptance of SB11, A Proposed Biosimilar Referencing Lucentis® (ranibizumab)
INCHEON, South Korea and CAMBRIDGE, Mass., Nov. 18, 2020 (GLOBE NEWSWIRE) -- Samsung Bioepis Co., Ltd. and Biogen Inc. (Nasdaq: BIIB) today announced that the U.S. Food and Drug Administration (FDA) has accepted for review the Biologics License Application for SB11, a proposed biosimilar referencing Lucentis®1 (ranibizumab). Ranibizumab is an anti-VEGF (vascular endothelial growth factor) therapy for retinal vascular disorders, which are a leading cause of blindness in the United States.
Biosimilars are products that have been demonstrated to be similar in efficacy and safety to the originator's reference product, with the advantage that they offer cost savings and promote sustainable access to therapies. Savings in the United States over the next five years as a result of biosimilars are projected to exceed $100 billion.3
"The FDA filing acceptance for SB11 brings us a step closer to our goal of being able to offer affordable treatment options for people with retinal vascular disorders," said Hee Kyung Kim, Senior Vice President and Clinical Sciences Division and Regulatory Affairs Team Leader, at Samsung Bioepis. "If approved, SB11 will be a valuable treatment option for people with retinal vascular disorders, potentially helping millions of people in the U.S."
"We are encouraged by the FDA's filing acceptance of SB11, a key milestone in the process for providing a new potential treatment option for patients in the United States with retinal vascular disorders," said Ian Henshaw, Senior Vice President and Global Head of Biosimilars at Biogen. "Our biosimilar portfolio aims to ensure sustainability of healthcare systems by offering broader patient access to effective and more affordable treatment options."
In October 2020 the Marketing Authorization Application (MAA) for SB11 was accepted for review by the European Medicines Agency (EMA). If approved, SB11 will add to the biosimilars portfolio developed by Samsung Bioepis and commercialized by Biogen, including three widely prescribed anti-TNF biosimilars in Europe; BENEPALI™, IMRALDI™ and FLIXABI™.
Samsung Bioepis announced in November 2019 that it entered into a new commercialization agreement with Biogen for two ophthalmology biosimilar candidates, SB11 (ranibizumab) and SB15 (aflibercept), in the U.S., Canada, Europe, Japan and Australia.
About Samsung Bioepis Co., Ltd.
Established in 2012, Samsung Bioepis is a biopharmaceutical company committed to realizing healthcare that is accessible to everyone. Through innovations in product development and a firm commitment to quality, Samsung Bioepis aims to become the world's leading biopharmaceutical company. Samsung Bioepis continues to advance a broad pipeline of biosimilar candidates that cover a spectrum of therapeutic areas, including immunology, oncology, ophthalmology and hematology. Samsung Bioepis is a joint venture between Samsung BioLogics and Biogen. For more information, please visit: www.samsungbioepis.com and follow us on social media – Twitter, LinkedIn.
About Biogen
At Biogen, our mission is clear: we are pioneers in neuroscience. Biogen discovers, develops and delivers worldwide innovative therapies for people living with serious neurological and neurodegenerative diseases as well as related therapeutic adjacencies. One of the world's first global biotechnology companies, Biogen was founded in 1978 by Charles Weissmann, Heinz Schaller, Kenneth Murray and Nobel Prize winners Walter Gilbert and Phillip Sharp. Today Biogen has the leading portfolio of medicines to treat multiple sclerosis, has introduced the first approved treatment for spinal muscular atrophy, commercializes biosimilars of advanced biologics and is focused on advancing research programs in multiple sclerosis and neuroimmunology, Alzheimer's disease and dementia, neuromuscular disorders, movement disorders, ophthalmology, immunology, neurocognitive disorders, acute neurology and pain.
We routinely post information that may be important to investors on our website at www.biogen.com . To learn more, please visit www.biogen.com and follow us on social media – Twitter, LinkedIn, Facebook, YouTube.
This news release contains forward-looking statements, including statements made pursuant to the safe harbor provisions of the Private Securities Litigation Reform Act of 1995, relating to the potential benefits, safety and efficacy of SB11; the timing and status of current and future regulatory filings; risks and uncertainties associated with drug development and commercialization, including SB11; the potential of Biogen's commercial business and pipeline programs, including BENEPALI™, IMRALDI™, FLIXABI™ and SB11; the anticipated benefits and potential of Biogen's collaboration arrangements with Samsung Bioepis; Biogen's strategy and plans; and potential cost healthcare savings related to biosimilars. These forward-looking statements may be accompanied by words such as "aim," "anticipate," "believe," "could," "estimate," "expect," "forecast," "intend," "may," "plan," "potential," "possible," "will," "would" and other words and terms of similar meaning. Drug development and commercialization involve a high degree of risk, and only a small number of research and development programs result in commercialization of a product. Results in early stage clinical trials may not be indicative of full results or results from later stage or larger scale clinical trials and do not ensure regulatory approval. You should not place undue reliance on these statements or the scientific data presented.
These statements involve risks and uncertainties that could cause actual results to differ materially from those reflected in such statements, including without limitation, actual timing and content of submissions to and decisions made by the regulatory authorities regarding SB11; regulatory submissions may take longer or be more difficult to complete than expected; regulatory authorities may require additional information or further studies, or may fail or refuse to approve or may delay approval of SB11; risks of unexpected costs or delays or other unexpected hurdles; uncertainty of success in the development and potential commercialization of SB11, which may be impacted by, among other things, the level of preparedness of healthcare providers to treat patients, difficulties in obtaining or changes in the availability of reimbursement for SB11 and other unexpected difficulties or hurdles; the occurrence of adverse safety events; unexpected concerns that may arise from additional data or analysis; failure to protect and enforce data, intellectual property and other proprietary rights and uncertainties relating to intellectual property claims and challenges; risks of legal actions, regulatory scrutiny or other challenges to biosimilars; the direct and indirect impacts of the ongoing COVID-19 pandemic on Biogen's business, results of operations and financial condition; product liability claims; and third party collaboration risks. The foregoing sets forth many, but not all, of the factors that could cause actual results to differ from Biogen's expectations in any forward-looking statement. Investors should consider this cautionary statement as well as the risk factors identified in Biogen's most recent annual or quarterly report and in other reports Biogen has filed with the U.S. Securities and Exchange Commission. These statements are based on Biogen's current beliefs and expectations and speak only as of the date of this news release. Biogen does not undertake any obligation to publicly update any forward-looking statements, whether as a result of new information, future developments or otherwise.
1Lucentis is a registered trademark of Genentech, Inc.
2IQVIA Institute for Human Data Science. Biosimilars in the United States 2020–2024 Competition, Savings, and Sustainability Institute Report, Sep 29, 2020. Available at: https://www.iqvia.com/insights/the-iqvia-institute/reports/biosimilars-in-the-united-states-2020-2024
MEDIA CONTACT SAMSUNG BIOEPIS:
Anna Nayun Kim
nayun86.kim@samsung.com
MEDIA CONTACT BIOGEN:
David Caouette
public.affairs@biogen.com
INVESTOR CONTACT BIOGEN:
Joe Mara
IR@biogen.com
Related Links: Biogen Inc.


Ex-drug official says Afghan leader playing US "like a fiddle" and impeding drugs war.
He said the Taliban fighting Karzai's government profited from drugs, but Karzai was reluctant to move against big drug lords in his political power base in the south, where most of the country's opium and heroin is produced.
"Karzai was playing us like a fiddle," Schweich wrote.
"The US would spend billions of dollars on infrastructure development; the US and its allies would fight the Taliban; Karzai's friends could get richer off the drug trade," he wrote.
"Karzai had Taliban enemies who profited from drugs but he had even more supporters who did."
Schweich also accused the Pentagon and some US generals of obstructing attempts to get military forces to assist and protect opium crop eradication drives.
Nato and US military commanders have been reluctant to get involved in the drug fight, arguing that destroying farmers' crops would alienate tribesmen and increase support for the Taliban.
Hillary Mann Leverett, a former US National Security Council official for Afghanistan, told Al Jazeera that the US knew that government ministers in Afghanistan, including the minister of defence in 2002, were involved in drug trafficking.
"Karzai was playing us like a fiddle. The US would spend billions of dollars on infrastructure development; the US and its allies would fight the Taliban; Karzai's friends could get richer off the drug trade"
Afghan ministers at that time had little expertise but were appointed because "they were warlords, they were thugs, they represented various ethnic and sectarian constituencies", Mann Leverett said.
She added that the US government chose to work with them in an attempt to stop Afghanistan becoming a haven for al-Qaeda.
"Instead of funding the warlords we could have funded the UN to have a security peacekeeping force throughout the country.
"Instead we left Karzai without any troops, without any weapons, without any money, without any backing, to the warlords.
Gonzalo Gallegos, a state department spokesman, did not directly address Schweich's allegations but defended US policy and backing for Karzai.
"We know and understand that there is a corruption issue in Afghanistan but we're working with the sovereign government," Gallegos said on Thursday.
"President Karzai has shown us through word and deed that he is working with us to help improve the plight of that country."
Gallegos added that corruption was a deeply rooted problem and solving it would take time.
Drug production has skyrocketed since the US-led invasion that ousted the Taliban.
In 2007, nearly 200,000 hectares of land in Afghanistan was used to cultivate poppy - more than double the area in 2003 – and the country produced 93 per cent of the world's supply of opium, the raw material of heroin.
Karzai says his government is succeeding in the war on drugs and has repeatedly promised his US backers that he is committed to rooting out endemic corruption and fighting the drug trade.
His counter-narcotics ministry says 20 of Afghanistan's 34 provinces will be poppy-free this year, compared to 13 provinces in 2007.
But in the south, cultivation remains rampant.


text:
Q: Write 7. as 7.0 and .7 as 0.7 i would like to know how to do in order to transform using a function .7 in 0.7 and 7 in 7.0. I need that the values in the list will really change because i must print them in a text file.
Thank you.

A: There are several ways to display a number in a specific way.
Some of them, with examples:

*

*EngineeringForm[10000.] = 10.x10^3

*ScientificForm[10000.] = 1.x10^4

*NumberForm[10000., {7, 1}]= 10000.0

*And some special as AccountingForm that use accounting notation featuring e.g. a special notation of negative numbers.

NumberForm seems most relevant for you, as pointed out by Sungmin. It lets you specify a display style with using a specified number of precise digits (we call them PD now) and a number of digits right of the decimal (DD).
Use is:

*

*NumberForm[YourNumber,{PD,DD}]
In your case

*

*NumberForm[ 7., {1, 1}] = 7.0

*NumberForm[.7, {1, 1}] = 0.7

One general remark concerning the number of precise digits (also called significant figures): The number of precise digits of a multiplication/division can not increase above the lowest number of precise digits of all variables involved. Similar holds for addition/subtraction. Thats why rounding should be done at the very end of calculations and be avoided in between.

redpajama_set_name: RedPajamaStackExchange


everything they did set them far apart from their musical contemporaries.
one of the most exciting and cherished bands of their generation.
After acquiring the Beta Band's catalogue last year, Because Music will reissue their releases, starting on September 14th with a double CD Best-Of compiling all their best hits and a live show recorded at the Shepherd's Bush Empire (London) in 2004.


text:
class RavelryController < ApplicationController

  def auth
    consumer = OAuth::Consumer.new ENV['ravelry_consumer_key'],
                                    ENV['ravelry_consumer_secret'],
                                    { site: 'https://api.ravelry.com' }
    request_token = consumer.get_request_token oauth_callback: ravelry_callback_url
    session[:request_token] = request_token
    redirect_to request_token.authorize_url
  end

  def callback
    request_token = session[:request_token]
    if request_token.token = params['oauth_token']
      access_token = request_token.get_access_token oauth_verifier: params[:oauth_verifier]
      token = AccessToken.from_token_and_secret(access_token.token, access_token.secret)
      session[:access_token_id] = token.id
      if session[:after_auth]
        redirect_to session[:after_auth]
      else
        redirect_to root_path
      end
    end
  end
end

redpajama_set_name: RedPajamaGithub


text:
Kuwaiti oil and gas workers begin strike
Workers are protesting public sector pay reforms
Kuwaiti oil and gas industry workers began a strike on Sunday over public sector pay reforms which they fear could reduce salaries and diminish other benefits, union members said.
Non-Kuwaiti workers in the industry did not go on strike, however, and it was not immediately clear if oil and gas output was seriously affected.
Kuwait National Petroleum Co (KNPC), a subsidiary of Kuwait Petroleum Corp (KPC) and one of five state-owned companies affected, has said there is a contingency strategy to ensure production and exports will not be hurt.
Kuwait's oil exports have also not been affected by the strike, oil sector spokesman Sheikh Talal al-Khaled al-Sabah said in a statement on state-news agency KUNA.
The union has not said how long the strike, involving thousands of workers at state-owned oil, gas and petrochemical companies, will last.
KPC and its subsidiaries agreed to temporarily freeze a planned government overhaul of the payroll system and seek a compromise through a joint committee with the workers' union, al-Sabah, said last week.
But the union head, Saif al-Qahtani, called that "playing with words". "The KPC statement is talking about 'freezing' the decisions, while our demand is to cancel them," Qahtani, head of the Oil and Petrochemical Industries Workers Confederation, told Reuters.
Reuters April 17, 2016


Change the way you keep your iPad when you go for the Flight of Birds iPad sleeve. If not the utility, the style and design will surely convince you about buying it. Colors like pink and blue adorn the sleeve thereby making it even more attractive. Depicting some delicte floral intricacies and flying birds, the iPad sleeve is a steal.


PGA JUNIOR LEAGUE – Get Better. On Purpose.
WE ARE THE EAST BAY WARRIORS!
Our season starts right after the conclusion of middle school golf in late May. Matches generally begin in early June, with the League Championship around July 31st. After that each team Captain selects ALL STARS, who go on to compete against other regional all stars (like little league baseball) in the August post-season brackets.
Watch a 2-minute highlight reel of the ALL STAR match against Sonoma. August 2017.
Our League consists of Redwood Canyon (defending champions, coach Eric Jones), Alameda (coach Kris Moe), Monarch Bay (coach Rick Laforet), and Skywest (coach Kathleen Robinson).
The Redwood Canyon junior golf team posted a perfect undefeated record to capture the inaugural PGA Junior League Golf championship for the East Bay Redwood Canyon section. Led by stalwarts Baron Szeto, Sydney Silva, and Kaydee and Kaylen Tu the team competed against similar junior teams from Monarch Bay, Sykwest, and Alameda golf courses in both home and away matches over a two-month season. These same four young golfers have been named to the All-Star team, which will go on to compete for the National PGA Junior League title.
According to its website the PGA Junior League Golf (PGA JLG) is "designed to bring a 'Little League' atmosphere to the game of golf." Team members and spectators – mostly parents – all cheer when the young golfers hit good shots.
The format is obviously successful.
From just a handful of teams and 170 players in 2011 the PGA Junior League has grown to more than 30,000 participants and 2,500 teams around the country. That's led to local, sectional, and regional playoffs, and a highly competitive National Championship.
Junior League teams are a mix of boys and girls under the age of 13, all wearing numbered jerseys sporting their facility's colors. Eight golfers from each course are divided into four 2-person teams. Each 2-person team plays a 9-hole match against their rival 2-person team. The nine holes are divided into three-hole segments, known as "flags", for a total of three flags per match, and 12 flags per contest. The team that captures the most flags wins the contest.
Jones runs the Eric Jones Golf Academy at Redwood Canyon golf course in Castro Valley, which features year-round after-school and weekend programs for junior golfers of all abilities. The Junior Academy is a true developmental program that takes young golfers "from first swing to college scholarship." Visit the Junior Golf Academy page.


text:
Q: java:enlisting .zip file from a directory I have a folder containing a large number of .zip files. I would like to enlist
those file and recursively read the compressed .xml files. How would i first enlist those .zip files?I didn't get any idea at all.

A: create a File object for your directory and call its listFilesmethod with an appropriate filter for your zip Files.
Construct a ZipFile object for every zipfile and call its entries() method to get a list of entries. Find the ZipEntry of the sought XML file and call ZipFile.getInputstream(xmlZipFileEntry) to start reading its content.


text:
Cottage Country Reflections
Thoughts and images from rural Ontario
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📹Fisher
Milford Bay Forest fire: across 6 hectares
I love the Milford Bay area. As with many rural places, they have volunteer firefighters! They sure earned their pay this season. Below are photos from a 2010 pancake fundraiser.
The fire may be out, but the scar remains
THE MUSKOKAN — The brush fire that blazed across six hectares of Milford Bay on July 24 is out, but the damage it caused will be visible for years to come. Believed, but not proven, to be the result of a careless hitchhiker.
Posted by Jenn Jilks at 11:36
Labels: fire, firefighters, milford bay, volunteers
God Bless those volunteer firefighters! Rural areas would be totally lost without them!
Red said...
I have done many pancake breakfast like this. Smoke from sausages and great pancakes.
Oh, Canada
Flag designed by the late Curtis Wilson.
As a white settler, I acknowledge that we are on unceded Omàmìwininì (Algonquin) territory.
They were keepers of the lands and waterways on this territory for millennia, nurturing the region long before first contact.
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Cheers from Perth, ON
The Muskoka Region
What is Muskoka?
Numerous city folks refer to us as if we were a town, and this demands clarification. There is only one Muskoka region, it is not: 'The Muskokas'.
Muskoka is could be named for Mesqua Ukie, the Ojibwa leader associated with the area during the 1800's. It was then the hunting grounds of a band led by Chief Yellowhead or Mesqua Ukie.
History of Muskoka
We cottaged there for 50 years. One of the best local reads is Raisin Wine (2007), by our former Lt. Gov., James Bartleman.
We now live in cottage country in south eastern Ontario, in a wetland!
Respect Intellectual Property
Reproduction of material from this site, including photos and graphics, in whole or in part, is prohibited without permission.
Yes, you can be sued: Fair Dealing in Canada and the UK, Fair Use laws in the USA.
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This work is © Jennifer Jilks.


Oh, thank the good lord, SWANS (once more, still) are not dead. In fact, by all accounts, the band is proving as frighteningly prolific as they were back in their first twenty years of…heyday? That term seems inappropriate. Anyway, we just got word that the band is working on assembling yet another documentation of their teeth shattering live performance called NOT HERE/NOT NOW. Details are, of course, spare but according to M. Gira he will be "sifting through (seemingly) hundreds of live recordings and editing/mixing, then physically making by hand these things in august/september" so it looks like you should have something deafening to continue in the tradition of Feel Good Now, Omniscience, Kill the Child, Real Love, Swans Are Dead, Public Castration Is a Good Idea, We Rose from Your Bed with the Sun in Our Head and something else I'm probably forgetting by XMas because you just can't get enough live SWANS in your life, goddamnit. Here's some live clips of "No Words, No Thoughts" and "Beautiful Child" (which is, unsettling, Charles' favorite). Look for more info over at Young God. Rockit.


Additional Notes: MALE: Pomeranian, senior, blond coat, white on face, wearing a faded collar, very nervous and timid. Found roaming on Nov. 28/18. This dog is safely in the care of Lunenburg Animal Control Services.


text:
Copland DAC215
12. August 2016 · Write a comment · Categories: Computer audio and Streaming, D to A Converters, Headphones, Hifi Reviews, Uncategorized
Costing £1998, the DAC215 from Danish manufacturer Copland is a combined DAC, preamplifier and headphone amp in one good looking unit. Janine Elliot takes a listen for Hifi Pig.
I initially got excited about Copland when I first heard their CDA288 CD player in 1996. Producing a series of amplifiers, CD players, and even the unique DRC205 room equaliser, all their products have a distinctive musical performance and looks (particularly the use of rotary hat knobs) that set them apart from others, and I get interested every time a new product is released, not something I can say for many companies out there. The DAC215 at £1998 distribute in the UK by Absolute Sounds is no exception.
Available with silver or black facia, and looking like a retro 1970s kitchen radio that would grace any NEFF equipped designer room, the only thing this cooks up is an hors d'oeuvre of sweet music.
Copland is a Danish company founded in 1984 by Olé Möller, based in central Copenhagen. His professional career began at Ortofon, another major Danish company, where he specialized in low noise amplification of the minute signals from moving coil pickups. Always considered a class act they now work particularly with valve separates that regularly win praise in the press. With a series of 6 products in current production, they only bring out a new model after years of engineering and listening tests.
This product uses the highly regarded ESS Technology ES9018 Reference Sabre 32Bit DAC, a product finding itself in a number of DACs and hi-res players. In the DAC215 it is configured in quad-mono, meaning that 8 mono channels are converted into two stereo. By combining four 'in-phase' and four 'opposite-phase' converters per channel, it works like a balanced power supply and adding the two together helps to reduce noise, therefore giving exceptional signal to noise ratio.
With PCM sources up to 384 kHz at 24 and 32 bit, and DSD 2.8-5.6MHz (64,128 and 256) this unit can cater for pretty much anything thrown at it. With a collection of USB, S/PDIF and Toslink digital inputs, plus an RCA analogue input, it can be used as a complete preamp to connect to your power amplifier with its high quality volume control. It can also be used solely as a DAC to be fed into your own preamplifier, missing out the Class A amplifier stage completely. For this review I tried both outputs, arriving at different pairs of RCA sockets at the rear, using MFA Baby Reference pre-amplifier and Krell KAV250a power amplifier. Sources came from a laptop using the Amanero USB driver and Foobar, or else digital output from a Fiio X5.
The asynchronous USB input converter module has its own regulated power supply and power transformer, meaning that a computer's power isn't used and the noisy output is isolated. Once connected, the computer recognizes the DAC and routes the digital audio data to it, bypassing the source device's internal audio circuitry. There are two Toslink and one S/PDIF input, all three allowing 44.1 – 192kHz and 24/32bit. On top of this there is a pair of RCAs for the analogue input as well as the two sets of RCA outputs.
The front panel is distinctive with its radiator, which not only allows ventilation but also shows off the two ECC88/6922 valves, which are additionally lit up by a red LED behind (though should you wish to turn this off you can open up the unit and press a button). The design of the DAC means these valves are running at around 20% of nominal power, which will extend their life considerably, valves having a limited life span; one of the reasons we went for transistors in hifi back in the 60's, though, as any audiophile will testament to, the valve is as important to today's hi-end hifi as the klystron is for high power radio frequency transmitters, the magnetron is in your microwave oven, and dare I say any owners of CRT tube still out there. Olé uses tubes as he considers that so far "they have not been surpassed as active devices in high-end audio".
The minimalist approach extends to there being no infra-red remote. It is not needed. To be honest it is great to have knobs and switches to play with. To power-on there is a switch on the far right. No need to finger around the back to hunt for a rocker mains switch. On the left of the front panel is a switch, which in the up position lights itself up in red, the amplifier section is bypassed and DAC analogue output via is directed straight to the DAC Left and Right output RCA sockets. In the down position the light is green and the amplifier circuitry in the DAC215 is engaged allowing you to use the volume control and also using headphones, plugging into the ¼ inch socket at the front. The DAC analogue output has a quoted frequency response of 20-20,000Hz +/-0.2dB, though is flat to 70,000Hz, with S/N ratio of 120dB. The Head amp has a better quoted frequency response (20-100,000Hz +/-0.5dB), though gives a much more rounded response up to 250,000Hz at -3dB, and with a powerful bass end, and highly respectable S/N ratio at 90dB. The class-A buffering technology of the analogue filtering sections, composed of discrete transistors, is borrowed from their CD-players, which provide an unfettered and agile sound that belies the small torso of this little monster.
On switching on the green/red lights flicker until the complete unit is ready to play music. Initially I used the unit as a preamp using the amplifier circuitry. Playing Pat Matheny, Steve Reich Electric Counterpoint 32Bit 176kHz FLAC I was instantly aware of a warmth, clarity and detail that was immediately interesting in a monotonous minimalist musical recital. The Clockwork Orange main tune from Wendy Carlos (32Bit 176kHz FLAC ) was profound and full of 1960's analogue Moog synthesiser fanfares that worked better through the Head amp than as a straight DAC output into my MFA preamp. Through the DAC output the sound was a lot more precise but lost some of the melodic euphoria that the valve stage added. Indeed I found this with a number of hi-res files I played; where the DAC output was much more precise and accurate, it didn't give me as much of an emotional outcome as through the pre amp stage.
Pink Floyd's Endless River is the epitaph of an endless foray of musical landscapes since 1967. The final track on this album, "Louder than Words", is for me one of the greatest tracks they have ever produced. Musically, that is. It sets me crying every time I hear it, though I wish the main chorus section was repeated and developed for longer before petering out into the blue yonder, which in my opinion therefore seems to end way too soon. This album is, however, not that good acoustically. The vocal backing is highly digitised, and listening through the DAC215 shows just how off the mark this recording is. However, the valve stage seems to get it under control and make it human again, whilst still retaining all the detail. I recently remarked in the Clare Teal/ Syd Lawrence Orchestra album about the 24/192 backup recording being ditched and instead the reel-to-reel backup then being converted to 24/192 as that sounded so much more musical. There needs to be a link between musicality and technological 'tops'; something the early Philips CD101 14Bit CD player, like several others, proved could be contradicted so well. Even Russ Andrews recently commented that ditching 16/44.1 CDs is perhaps too premature; a correctly mastered CD can still sound excellent. And whilst the highly regarded and complex ESS Sabre DAC is 'tops', I still needed to put it through the valve stage to humanise the recording, largely because the MFA preamp is so acoustically transparent. Interestingly when fed to a less transparent class A/B pre/power combo, the DAC output was preferable. So, it's good to have a DAC giving you the choice of selection.
To add confusion, in some of the music I played the Copland DAC output was actually favourable to the valve stage. If only there was just one set of RCA outputs and you could switch between direct/preamp on the front without having to fondle around the back to re-plug the leads every time. There is much difference between the two outputs. Through the preamp stage the bass is particularly warm and inviting, adding power and emotion when needed, whereas through the DAC direct output it is precise and quick. And whilst this was the more perfectionist route, and ideal if you already have a preamplifier, it often left me wanting and, more importantly with my favourite Pink Floyd track, not crying. If this really is the last track Pink Floyd put to digits or vinyl, then it really does need to sound special. My own album 'Get Over It' was similarly more human through the valve amp, with a greater bass end and mid warmth.
Now, some will prefer the detail and accuracy invited from the DAC output, and playing Linn's Berlioz Symphonie Fantastique it had an immense detail front and rear as well as positions across the sound stage. This recording is the Scottish Chamber Orchestra's debut recording with their new principal conductor Robin Ticciati, and a monster of a performance. The 4th movement particularly had immense dynamism, and bass prowess and crisp tops that weren't exaggerated in any way. This was precision and power that Hector would have appreciated hearing, had he still been around. The DAC output won it for me on this occasion. Even a lower quality 16bit/44.1kHz wav file of Ralph Vaughan Williams London Symphony played with a passion I didn't expect to be so compelling. The 2nd movement left me in tears. Definition between the strings extended the boundaries in my living room, giving a large soundstage with meaty bass from Timpani rolls when needed.
I was torn between favouring exactitude or emotion, spending many hours considering both options, and I have to say the latter won it for me. Having another preamplifier stage might seem pointless since my reviewing fed through the brilliant MFA Baby Reference autotransformer, but the overall sound was much more pleasing to me, and hence this unit stands as a great preamplifier in its own right. The sound was on the warm side of neutral, and this gave me a much more natural sound than was from the DAC output, which at times could sound a little clinical. Indeed, the valve-stage sound reminded me of the warmth and musical understanding in the Copland CD player that I almost bought many years back. This great product gives you a choice of how you want to use it, and if you don't have a preamp, then this is a good analogue and digital input control system in its own right. Used as a headphone amplifier I was of course using the great valve stage, and this gave enough grunt and clarity for my HD650's let alone the bass-generous Meze 99 Classics I also tried. The sound was highly infectious, and will work well with inefficient planar as well as conventional headphones.
The DAC 215 is a very special addition to the Copland family, filling a gap in today's hifi bucket list. This product allows all the important digital formats, an essential condition of purchasing a converter, adding a touch of analogue musical finesse through the valve stage, just like the new Rolls Royce SUV maintains that Phantom style and luxury. This machine could do so with 24/32bit FLAC and DSD sources without any sign of difficulty, that I seriously considered investing in one myself. It's minimalistic, simplistic design hides some clever circuitry inside that sets it above many DACs I have had the pleasure/displeasure of playing with over the last few years. Having a choice of two output philosophies makes it all the more appealing.
Build Quality: Minimalist, well-built design.
Sound Quality: Much detail and unfettered control, and a musicality, especially through the preamp stage, that made listening to all types of music fun. Works well will all PCM/DSD sources. Excellent headphone amplifier.
Value For Money: With a price of £1998 this is excellent value, bearing in mind the amount of work this gentle giant can do, serving as DAC, headphone amplifier and preamp
Immense musicality and detail
Minimalist good looks and ease of use
Choice of DAC or preamp outputs
Works on all music genres and recording forms up to 384kHz 24/32 bit FLAC and DSD 2.8-5.6MHz (64,128 and 256).
Good to have an on-off button on the front again!
Just wish there was one set of RCA output sockets
Some might not like the facia styling
Janine Elliot
DAC:
USB Audio: PCM 44.1~384K (24/32bit)
DSD 2.8~5.6MHz (64~128X)
S/PDIF Input: 1 x COAX / 2 x Optical
PCM 44.1~192K (32bit)
RCA. 2.0 V rms. @ 0dBFS
SNR DAC > 120dB
THD < 0.004%
Head Amp:
Valves: 2 x ECC88 / 6DJ8 / 6922
Output: max. 8.5 V rms
Output impedance: 5.0 Ω
Frequency response: 20Hz~100 kHz (+/-0.5dB)
SNR: 90 dB
THD < 0.02%
Gain Head Amp: 10 dB
Power AC 110~120V or 220~240V
Power Consumption: 25W
Dimensions: 200 x 280 x 115 mm. W x D x H


Curating and providing open access to research data is a collaborative process. This process may be thought of as a life cycle with data passing through various phases. Each phase has its own associated actors, roles, and critical activities. Good data management practices are necessary for all phases, from proposal to preservation.
BCO-DMO, a repository funded by the National Science Foundation (NSF), supports the oceanographic research community's data needs throughout the entire data life cycle. This guide describes the services available from BCO-DMO from proposal to preservation and highlights phases where researchers engage significantly with the office.


Mobile video conferencing can promote better meeting engagement. But enterprise users need to take steps to maintain an effective video collaboration session.
In today's world, mobile video calls are generally accepted by most consumers. The continued growth of applications such as YouTube Live, Facebook Live and Periscope reflect that trend. However, mobile video calls in enterprise communications are a bit more controversial.
Some industry observers can't imagine a Fortune 500 executive attending a meeting via a mobile device. It's one thing to pass around your phone at dinner so everyone can talk with grandma; it's another thing to picture a manufacturing CEO closing a deal for a new factory over mobile video.
Despite that perception, the need for mobile business video still exists. Whether a team member is out of the office for a week or you need to communicate with regular remote employees, that collaboration gap needs to be filled.
As a result, nearly all business video providers offer mobile applications. However, mobile video calls are a relatively new way to attend a business meeting, and proper protocols are still being established. The good news is mobile video can be a serious enterprise tool when used appropriately.
In a perfect world, you would always lead a team video meeting from your office desktop with all of your materials available. When compared with desktop video, mobile video offers a compromised experience. However, mobile video calls can still offer better experiences than typical phone calls.
In video meetings, one person might call in over audio. Instead of seeing that person's face, you see an icon, while everyone else is sharing live video. That person can't participate as effectively as the rest of the team. Calling in over mobile video allows team members to be more engaged, even if their video isn't as well-framed or high-quality as other participants.
In this video, see how cloud-based video conferencing can streamline IT infrastructures and empower enterprise collaboration.
Turn the phone sideways for landscape mode. Your video will be shared on a landscape-oriented window in the meeting's user interface. Your video capture should match the output so it fits the screen properly. Also, you'll have a better view of the other attendees, who are sending you landscape-oriented images.
Don't hold the phone. A shaking, moving camera is distracting to other meeting participants. Rest your phone on something stable. Ideally, place it at eye level. Even if you rest your phone against something on a table, it's still better than holding it.
Use headphones. This is somewhat obvious. Regardless of your environment, plug in headphones to reduce feedback issues or background noise.
Adjust for latency. Mobile video attendees should assume their connection may have more latency than their typical desktop experience. This sometimes results in people talking over each other. Be aware of this potential issue so you can mitigate the effects.
Don't expect CEOs to start closing billion-dollar deals over mobile video calls anytime soon.
Mute yourself. Remote attendees often forget to mute themselves because everything sounds fine from their end. For that reason, they have no way of knowing how much background noise they're transmitting. As a general rule, just assume you should mute yourself. When you need to contribute to the call, just unmute and talk, but remember to mute again when you're done.
Pull over. No one wants to watch you get into a car accident. It's distracting to the other meeting attendees. Try not to schedule meetings during travel times. But, at the very least, pull your car over to the side of the road so you can join the meeting.
Despite these simple best practices, don't expect CEOs to start closing billion-dollar deals over mobile video calls anytime soon. But, in many cases, mobile video does offer a better way to communicate than traditional phone calls.
If you're attending a meeting via mobile video, you should realize you're in a less controlled environment. Be aware of potential audio or video distractions coming from your end.
When considering mobile UC, ask vendors these 10 questions.
Calculate network capacity for mobile video deployments.
Explore the pros and cons of enterprise mobile video conferencing.
How can organizations implement mobile video conferencing as a reliable enterprise tool?


None of the "Genetic" or "Simulated annealing" algorithms have anything to do with what they claim. Neither of them are any more than naive hill climbing ( http://en.wikipedia.org/wiki/Hill_climbing ).
Seriously, this is about the worst method of doing this. The least you could do is add some momentum to the simulation to speed it up and avoid local maxima.
I have to admit, these things are at least addicting to watch.
I took this chance to upgrade to the latest build of firefox. This performance in this script was noticeably faster. Cool.
hackaday logo after 3 hours.
This sounds like a bog standard 'greedy' hill climbing algorithm to me, which has nothing to do with simulated annealing.
Simulated annealing would involve a probability of choosing an image which is -less- like the target image. This prevents the algorithm getting stuck in dead-ends (local maxima).
I made my own evolution script. It was tested in OSX but should work in Linux too. It may work in windows but the terminal wont clear it's self. It is a LOT more simple then the annealing one. It only uses a string and not a picture.
It crashed my Firefox after a minute.
I think this is cool. Efficient LED blinkers get old after a while..just kidding.
I seen a project years back using genetic programming that generated vectorized c++, compiled it, analyzed it's efficiency, and generated a new algorithm until it couldn't get anymore efficient.
How is this best fit? Clearly, looking at the image there is less than 50 polygons. I'm not even sure how this is genetic programming. What DNA do you start out with? If it is random then how do you decide what is possible? How does the program know which is the best match? If you are doing this by eye then really your program is not truly genetic. If you keep randomly changing points of the polygon eventually you will end up with something similar. How do you decide the coloring or is that random too? Why doesn't the program learn and evolve leaving out any interaction other than the input of an image? Then spit out the final best fit. The term genetic programming is used quite loosely here. What is the environment that the program is in? How does it evolve? This is basically randomizing polygons until you get a best fit image by eye.
icept is 100% correct: this is Hill Climbing, not Simulated Annealing. It's also completely unrelated to Genetic Algorithms.
I expect crappy science reporting from other places, not Hack a Day. Eliot, you should really know better.
phoenix, based on the link you provided, hill climbing "…starts with a random (potentially poor) solution, and iteratively makes small changes to the solution, each time improving it a little…" This implementation does not do that. It makes a random change, checks to see if it's more fit, and then either keeps or discards the change. That's a mutation and a fitness function and that puts it in the realm of GP.
WHY IS THIS ON HACKADAY?!
If you want to learn about genetic algorithms just read Wikipedia you mofos!
Dan, so what you're saying is the image is ideal DNA for the environment. The program searches or mutates until a DNA is best fitted based on parameters like polygons and iterations. Fair enough, I still don't think it's GP. Oh well, semi-interesting anyways.
need no stinkin "annealing" BS to hose up a picture!
is this a "hack" no, Is it good for anything usefull? Not really. Is it worthy of hack a day? No.
Is it good for anything useful? That's a bit like asking if science is good for anything useful. If you're not sure about the answer to that question then I don't know what to tell you. The example presented here is geared toward a pretty specific problem but, then again, so is nearly every post that has to do with a specific piece of equipment/device/programming framework/whatever. Stretch your imagination a bit (or just use google) and I'm sure you'll find plenty of applications for this sort of thing.
I wrote my own GA version and actually, my results were very similar. The problem is that there is a lot of interdependences between the genes/triangles especially when you have transparency involved. So you need to have, multiple changes in color and point location to have an improvement that is propagated. Which doing a single mutation at a time won't allow.
In summary its easy to get into local minimum and not reach the global ones.
I think the first one did such a good job because his mutations did a much better job of getting of local minimum.
I have to agree: this is just a hill climbing algorithm, aka "I failed algorithms 101". This really has no relation to genetic algorithms.
Darmowe ogloszenia- z nami sprzedasz, kupisz kazda rzecz.Nie musisz zakladac konta, w prosty sposob zamiescisz bezplatnie swoje ogloszenie.
Dolozylismy wszelkich staran by serwis dzialal bez blednie.


text:
Kyla Richey est une joueuse de volley-ball canadienne née le  à Langley (Colombie-Britannique). Elle mesure  et joue au poste de réceptionneuse-attaquante. Elle totalise  en équipe du Canada.

Biographie

Elle est en couple avec Rudy Verhoeff et le couple va devenir des vignerons au Canada.

Clubs

Palmarès
Championnat du Pérou
Vainqueur : 2018-19.

Notes et références

Liens internes
 Équipe du Canada de volley-ball féminin

Liens externes
  Site officiel
  Son profil sur le site de la FIVB
  Site officiel de son club

Joueuse canadienne de volley-ball
Naissance en juin 1989
Naissance à Langley (ville)

redpajama_set_name: RedPajamaWikipedia


May | 2010 | .:.ღஜღ 安德莉亞の煮意空間 ღஜღ.:.
Melt the chilled butter over medium heat.
Sprinkle bananas with the 1 tblsp sugar and add to butter in skillet Stir frequently until soft and slightly caramelized.
In bowl combine eggs and the remaining sugar and beat until creamy.
Add melted butter beating to blend.
Add the caramelized bananas and gently stir with a wooden spoon.
Scrape into a floured loaf pan.
Bake in the center of oven for 40 to 50 minutes.


text:
Primrose Hill Road
Sights and Attractions near Primrose Hill Road
Primrose Hill Road, Primrose Hill Road, Primrose Hill, Camden, London NW3
All The Best Activities for Kids Art and Design Art Galleries Attractions for Kids Boats Historic Buildings House and Garden Museums Other Attractions Parks and Gardens Sights Sightseeing Tours Venue Hire
Jewish Museum
Raymond Burton House, 129-131 Albert Street, Camden Town, London NW1 | 15 minutes walk from Primrose Hill Road
The Jewish Museum in Camden reopened on Wednesday 17th March 2010 following a £10 million transformation which brought the collections of the Jewish Museum and... More
Freud Museum
20 Maresfield Gardens, NW3 | 17 minutes walk from Primrose Hill Road
Sigmund Freud's family home in Hampstead has been turned into a fascinating museum which features the psychoanalytic couch on which Freud's patients would recline while being... More
11 St Andrews Place, Regent's Park, Regent's Park, London NW1 | 25 minutes walk from Primrose Hill Road
The Royal College of Physicians is the oldest royal medical college in England and Wales, and marks its 500th anniversary in 2018. Housed in a... More
Hampstead Museum
New End Square, NW3 | 25 minutes walk from Primrose Hill Road
Housed on the first floor of Burgh House, Hampstead Museum charts the history of the north London borough from prehistoric times to today. Redesigned in... More
96 Euston Road, King's Cross, London NW1 | 32 minutes walk from Primrose Hill Road
With over 150 million items, a copy of every publication produced in the UK and Ireland, artwork by artists such as Antony Gormley and Eduardo... More
Petrie Museum of Egyptian Archaeology
Malet Place, University College London, Bloomsbury, London WC1E | 32 minutes walk from Primrose Hill Road
The Petrie Museum, located within University College London, is one of the largest and most fascinating collections of Egyptian archaeology anywhere in the world. There... More
12-13 New Wharf Road, King's Cross, London N1 | 35 minutes walk from Primrose Hill Road
A trip to the Canal Museum reveals there's more to London's man-made waterways than just enjoying a day out in a narrow boat. You'll learn... More
The Wiener Library
29 Russell Square, Bloomsbury, London WC1B | 2 miles from Primrose Hill Road
The Wiener Library is the world's oldest library dedicated to the study of the Holocaust, its causes and legacies. The library also hosts a regular... More
The Foundling Museum
40 Brunswick Square, Bloomsbury, London WC1N | 2 miles from Primrose Hill Road
The Foundling Museum is one of London's real hidden treasures. Originally established in 1739 as a hospital which looked after abandoned children, the museum now... More
Handel & Hendrix in London
25 Brook Street, Mayfair, London W1K | 2.1 miles from Primrose Hill Road
Handel & Hendrix in London, a beautifully restored Georgian house in Mayfair, is where the baroque composer George Frideric Handel lived from 1723 until his... More
Great Russell Street, Bloomsbury, London WC1B | 2.2 miles from Primrose Hill Road
If you wanted to thoroughly explore the British Museum, it would take months, if not years. Over seven millions objects from all over the world... More
63 Wells Street, Bloomsbury, London WC1A | 2.2 miles from Primrose Hill Road
Combining art with humour, The Cartoon Museum is a museum-cum-gallery with a refreshingly vibrant personality. After 13 years on Little Russell Street in... More
Charles Dickens Museum
48 Doughty Street, Bloomsbury, London WC1N | 2.3 miles from Primrose Hill Road
Charles Dickens brought London to life with his imaginative depictions of city life and his fascination and passion for the foggy Victorian streets have inspired... More
The Postal Museum and Mail Rail
Phoenix Place, Clerkenwell, London WC1X | 2.3 miles from Primrose Hill Road
Explore the history of the Royal Mail at The Postal Museum where you can go on an underground adventure through narrow tunnels not used since... More
Clockmaker's Museum, Guildhall Library
Science Museum, Exhibition Road, Clerkenwell, London SW7 | 2.4 miles from Primrose Hill Road
An exceptional collection of historic clocks, watches, and marine timekeepers. The majority of items in the collection range from c . 1600-c .... More
13 Lincoln's Inn Fields, Holborn, London WC2A | 2.5 miles from Primrose Hill Road
An appealingly higgledy-piggledy treasure trove of artefacts, the extraordinary Sir John Soane's Museum elegantly located on Lincoln's Inn Fields is well worth an exploratory rummage.... More
London Film Museum Covent Garden
45 Wellington Street, Covent Garden, London WC2E | 2.6 miles from Primrose Hill Road
The London Film Museum, located on the site of the Theatre Museum in the original Flower Cellars in the heart of Covent Garden, is the... More
35-43 Lincoln's Inn Fields, Holborn, London WC2A | 2.7 miles from Primrose Hill Road
The Hunterian Museum within the Royal College of Surgeons boasts a host of enlightening, permanent and temporary, galleries and exhibitions. Housed in the college, the... More
Covent Garden Piazza, Covent Garden, London WC2E | 2.7 miles from Primrose Hill Road
After a two-year, £22 million refurbishment the London Transport Museum reopened on 22 November 2007 revealing more exhibition space than before. The museum travels back... More
British Optical Association Museum
42 Craven Street, WC2N | 2.8 miles from Primrose Hill Road
Run by the Worshipful Company of Spectacle Makers the British Optical Association Museum in Charing Cross features historic examples of London-made spectacles... More
Museum of Brands, Packaging and Advertising
111-117 Lancaster Road, Notting Hill, London W11 | 2.8 miles from Primrose Hill Road
From Cornflakes to Ker-plunk, Spacedust to Spacehoppers, take a nostalgic tour through 200 years of British consumerism with Robert Opie's unique creation. Enter the Museum... More
Horse Guards, Whitehall, Westminster, London SW1A | 2.9 miles from Primrose Hill Road
Visitors to the Household Cavalry Museum can watch troopers working with their horses in the original 18th century stables (via a glazed screen) and hear... More
Museum of Instruments
Royal College of Music Prince Consort Road, South Kensington, London SW7 | 3 miles from Primrose Hill Road
The RCM Museum of Instruments was started in 1894 with a donation from Sir George Donaldson. Today it features over six hundred instruments, some of... More
Clive Steps, King Charles Street, Westminster, London SW1A | 3.1 miles from Primrose Hill Road
Winston Churchill directed the troops during World War II from a small warren of underground rooms, which are now open to the public.... More
The Poetry Library
Level 5, Royal Festival Hall, Belvedere Road, South Bank, London SE1 | 3.1 miles from Primrose Hill Road
The most comprehensive and accessible collection of poetry from 1914 in Britain, The Poetry Library within the Southbank Centre contains 90,000 items and is still... More
Victoria and Albert (V & A) Museum
Cromwell Road, South Kensington, London SW7 | 3.2 miles from Primrose Hill Road
The Victoria and Albert Museum (V&A) was originally founded in 1852 to inspire and educate British designers and manufacturers. Today it... More
Exhibition Road, South Kensington, London SW7 | 3.2 miles from Primrose Hill Road
The Science Museum in South Kensington houses one of the most comprehensive collections looking at the development of science and industry, and it is all... More
Information Age
Science Museum, Exhibition Road, South Kensington, London SW7 | 3.2 miles from Primrose Hill Road
A major permanent gallery on the second floor of the Science Museum, open on 25th October 2014, Information Age: Six Networks That Changed Our World... More
Wonderlab: The Statoil Gallery
Science Museum, Exhibition Road, SW7 | 3.2 miles from Primrose Hill Road
Wonderlab: The Statoil Gallery is the Science Museum 's most ambitious interactive gallery to date. Open from October 2016, the £6 million... More
150 London Wall, City, London EC2Y | 3.2 miles from Primrose Hill Road
Experience the real flavour of London life from the prehistoric to present day when you visit the Museum of London, a modern ... More
Attractions in Primrose Hill Road
Activities for Kids Attractions in Primrose Hill Road
Art and Design Attractions in Primrose Hill Road
Art Galleries Attractions in Primrose Hill Road
Attractions for Kids Attractions in Primrose Hill Road
Boats Attractions in Primrose Hill Road
Historic Buildings Attractions in Primrose Hill Road
House and Garden Attractions in Primrose Hill Road
Museums Attractions in Primrose Hill Road
Other Attractions Attractions in Primrose Hill Road
Parks and Gardens Attractions in Primrose Hill Road
Sights Attractions in Primrose Hill Road
Sightseeing Tours Attractions in Primrose Hill Road
Venue Hire Attractions in Primrose Hill Road
Near PRIMROSE HILL ROAD	 All London hotels
Near Primrose Hill Road
Ruth Sutoye: Bald Black Girls
Roundhouse 7 minutes walk from Primrose Hill Road
The poet and visual artist explores why black women in London such as herself might wish to shave their heads....More
Selina Thompson: Race Cards
An installation which invites people to answer just one question in a room containing 1,000 uncomfortable questions about race....More
Hive City Legacy
Dance | Until 30th July 2019
Beat-boxing, aerial acrobatics, spoken word and body-popping from femmes of colour as they explore their own narratives and experiences in ...More
Theatre | Until 24th August 2019
Two years after opening at the National Theatre, Inua Ellams' much celebrated play, the Barber Shop Chronicles, is staged at ...More
Ebony Rose
The Barfly Camden 9 minutes walk from Primrose Hill Road
Soft pop-rock originals come courtesy of this Australian multi-instrumentalist now resident in London....More
Clubbing and Nightlife | On 19th July 2019
Disco and Balearica tracks from the Italian-Belgian producer....More
Zoo Nights
Tours | Until 26th July 2019
ZSL London Zoo 9 minutes walk from Primrose Hill Road
If you're a party 'animal' head to the London Zoo for its after-hours entertainment, which is laid on every Friday ...More
Wonderfest Rooftop
Seasonal | Until 28th September 2019
Fest Camden 10 minutes walk from Primrose Hill Road
Taking inspiration from the likes of Woodstock and Glastonbury, FEST Camden transforms its rooftop into the Wonderfest Rooftop for a ...More
Ceilidh Club
Cecil Sharp House 10 minutes walk from Primrose Hill Road
Hampstead Theatre 10 minutes walk from Primrose Hill Road
Nina and Ade risk everything to transform their daughter into a tennis champion in Oli Forsyth's bittersweet drama about parental ...More
From cheap budget hotels to luxury 5 star hotels see our discounts for PRIMROSE HILL ROAD hotels, including The Tower Hotel from 63% off.
Attractions near Primrose Hill Road, NW3
http://LondonTown.com/S/d_MaG1o


text:
The BBC micro:bit and Microsoft
Established: May 28, 2015
Try our Block/JavaScript editor!
The BBC and partners, including Microsoft, announce the BBC micro:bit – a pocket-sized, codeable computer that allows children to get creative with technology. Up to 1 million micro:bits will be given to every 11 or 12 year old child in Year 7 or equivalent across the UK, for free.
"The simple truth is, being a maker matters. Real computing, doing not just consuming, will drive a creative revolution in this country. That's why as a key partner in Make it Digital, Microsoft is helping to give a programmable micro:bit device to every year seven child in the country."
Michel Van der Bel, UK CEO, Microsoft
The BBC micro:bit and TouchDevelop
The BBC micro:bit is a small device that can be programmed to light up using a series of tiny LEDs. A fun introduction to programming and making – switch on, program it to do something fun – wear it, customize it, develop new ideas. The first wave of BBC micro:bits will hit UK schools this fall.
To bring the BBC micro:bit to life in 2015, Microsoft has developed an enhanced version of their popular TouchDevelop web application and hosting service. This means the micro:bit has its own dedicated website, Microsoft Azure hosting for all one million micro:bits and a range of online code editors available from most any modern web browser.
Microsoft also has supplied two languages/editors – TouchDevelop, a text-based language, and the Block Editor, a graphical coding language. The TouchDevelop web app holds all the code editors built for the micro:bit, runs the micro:bit simulator, sends the code to the ARM compiler and brings back the compiled files to be sent to the micro:bit.
Supporting the UK Teachers
With close to a million micro:bits hitting the classrooms in the Autumn, it is critically important that the Year 7 children are supported by knowledgeable teachers with interesting and engaging projects right from the get go. Microsoft has put together a complete package of materials that can help get teachers up and running and support them through the school year. This includes:
A Quick Start Guide, which takes teachers from a basic understanding of the device through to exciting games and tutorials;
extensive online documentation for the micro:bit and the code editors
workshops for teaching partners and direct connections between the coding environment and the Computing at School community
Do more with the micro:bit
Kodu for micro:bit has new programming tiles that allow interaction with the micro:bit. With these new tiles, you can control character movement using the accelerometer, jump and shoot with a button press, display animations and scrolling text on the screen, interface with other devices through the IO pins, and much more.
Windows 10 app with BLE connectivity to micro:bit, in development.
Ars Technica: http://arstechnica.co.uk/gadgets/2015/07/bbc-microbit-a-free-single-board-pc-for-every-year-7-kid-in-the-uk/
BBC: http://www.bbc.co.uk/mediacentre/mediapacks/microbit
cnet: https://www.youtube.com/watch?v=u5DIlaaNkvw
Engadget: http://www.engadget.com/2015/07/07/bbc-micro-bit/
The Guardian: http://www.theguardian.com/technology/2015/jul/07/bbc-give-away-1m-microbit-computers-schoolchildren
The Independent: http://www.independent.co.uk/life-style/gadgets-and-tech/news/bbc-microbit-can-a-pocketsized-computer-inspire-digital-creativity-in-britains-children-10372834.html
PC World: http://www.pcworld.com/article/2944804/bbc-reveals-microbit-a-programmable-pc-that-fits-in-your-pocket.html
TechCrunch: http://techcrunch.com/2015/07/07/the-microbit-is-shaping-up-to-be-the-perfect-programming-device-for-kids/
WinBeta: http://www.winbeta.org/news/microsoft-bbc-provide-microbit-computing-devices-uk-school-kids
Wired: http://www.wired.co.uk/news/archive/2015-07/07/bbc-micro-bit-launch-details-announced
Darren Gehring
Principal Software Engr Mgr QA
Peli de Halleux
Principal RSDE
Michal Moskal
Jonathan Protzenko
Steve Hodges
Partner Researcher
James Devine


Fear not – these are NOT basic economy prices. American, United, Delta and JetBlue continue to battle it out for turf supremacy in New York City. They're each offering shockingly low fares, starting at just $79 round trip for basic economy and just $83 for standard economy. That's one heck of a deal. You've probably had more expensive meals! In the sale you can depart Orlando, Chicago, Miami, Dallas, Cincinnati, Boston, and Washington DC. Quite a few other cities are available for just a bit more!
We've made handy links and pricing guides for regular economy tickets, from each city. If you're interested in basic economy, you'll find even lower priced tickets. Remember – if you have a credit card from the airline you'll fly, you can book basic economy and still get all your normal benefits. So here's: $83 round trip from Orlando, $90 round trip from Chicago, $97 round trip from Boston, $123 round trip from Cincinnati, $127 round trip from Miami, $144 round trip from Dallas, $150 round trip from Washington DC, $166 round trip from Atlanta.
Are you heading to NYC?


text:
March of Dimes Canada Community Blog
About March of Dimes Canada
Our Programs and Services
Let's Talk About: Nektarios!
On February 27, 2017 February 27, 2017 By J.aysonIn Conductive Education®, People, ProgramsLeave a comment
Nektarios is a proud and successful 27-year-old young man with a bright future ahead of him. But it wasn't always that way. His family knew that he was not meeting his important developmental milestones as he struggled to sit independently as a baby. As he grew older, he was increasingly dependent on his family and friends to help him in the activities of daily living.
Now, as a proud young adult, the last thing Nektarios wants is to rely solely on others for his care and comfort. He wants — and needs — to learn how to be as independent as possible. His mother found the March of Dimes Canada's Conductive Education® (CE) Program after hearing about it through word of mouth from friends and acquaintances. Nektarios began attending CE sessions in 2004, at the age of 15.
At the beginning, walking was difficult for Nektarios. But he set big goals for himself in CE class. He wanted to gain the strength he needed to go out with friends, enjoy the outdoors, play his favorite video games and enjoy being an active member of his community.
Nektarios during one of his Conductive Education classes with CE conductor Rachel
His own determination, the skills and dedication of the March of Dimes Canada staff, and your donations have all made such a difference for Nektarios in so many ways. He was able to live independently while at college, and tackle all of the challenges of daily living with minimal assistance. Walking with one cane — a task that was all but impossible for him just a few short years ago — is now something he can do with confidence and ease.
"If March of Dimes Canada didn't provide Conductive Education® I don't believe I would be where I am today," Nektarios tells us.
Increased mobility has given Nektarios the freedom he always wanted!
The evolution of this young man has been extraordinary. He enjoys life and is passionate about spreading the word about March of Dimes Canada and the life-changing programs that are available here. Every aspect of his life has changed for the better.
Nektarios (center) with his mother, Angela, and Aron Ralston at the Ability and Beyond Dinner in 2016
Conductive Education® is one of the programs that is also partly funded through money raised from our Door-To-Door campaign. Though physical Door-To-Door is coming to an end, you can still help support CE from the comfort of your own home! Sign up as an online canvasser and share your personal page with contacts and help support Canadians with disabilities: http://www.marchofdimes.ca/doortodoor/
Emergency Preparedness Tips with The Weather Network [11-15]
Emergency Preparedness Tips with The Weather Network [6-10]
Emergency Preparedness Tips with The Weather Network [1-5]
Volunteer Spotlight: December 2018
Volunteer Spotlight: October 2018
J.ayson on The impact of L.I.F.E. –…
MichaelJ J VanVeen on The impact of L.I.F.E. –…
Angie Burke on Angie Burke's Story…
National Conductive… on L.I.F.E. Toronto: Meet Us…
National Conductive… on Meet Nektarios
After Stroke
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Stroke Recovery Canada
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March of Dimes Canada on Facebook


Hikari Fish Food There are 52 products.
For Gouramis & Bettas. Micro Pellets.
A Uniquely Balanced Diet For Tetras, Barbs And Other Small-Mouthed Tropical Fish.
Ideal for plecos and algae eating bottom feeders.


The Owls posted a massive win at Millwall on Tuesday night and inched another step closer to second tier safety.
Miguel Llera cancelled out Jimmy Abdou's early goal that caught Wednesday cold and substitute Chris Maguire scored his maiden goal for the Owls in stoppage time to seal victory.
Just two points separated the teams in one of the most unpredictable Championships in years, with the capital clash giving the Owls the chance to leapfrog their hosts in the table.
But Wednesday were off to the worst possible start and conceded with barely a minute on the clock.
Chris Taylor advanced down the right flank before cutting inside to feed Abdou, who was left with the simple task of converting at the back post.
The shell-shocked Owls needed a positive response and Lewis Buxton went close with a long range free kick but play was soon back at the other end, when Millwall carved a clear opening in a bid to double their lead on ten minutes.
Rob Hulse was sent scampering in on goal but Chris Kirkland was off his line swiftly to smother at the feet of the veteran striker.
Steve Howard threatened for Wednesday on the half-hour mark with an angled drive saved by David Forde only for the Lions to immediately hit back as erstwhile Owl Mark Beevers glanced narrowly wide from a corner.
With half time looming, though, and the hosts seemingly heading down the tunnel in front, the Owls drew level in the 40th minute.
Seyi Olifinjana won a free kick 30 yards out and up stepped Llera to dispatch a curling drive right into the corner and beyond the reach of the despairing Forde.
The goal was the tonic Wednesday needed and it was they that showed the early intent in the second half - David Prutton saw a bobbling daisycutter cleared off the line by Shane Lowry - before Millwall began to dominate.
Time and again the Londoners poured forward but the final ball was lacking where it mattered.
When they did find that elusive killer pass, Kirkland was on hand to deal with the danger, as he did twice in as many minutes just past the hour.
First Jermaine Easter burst in on goal but the Owls' keeper was down sharply to parry clear before Taylor tried his luck from 20 yards only to see Kirkland again come to the visitors' rescue.
Wednesday threw on pace ace Jermaine Johnson to offer more attacking momentum but it was the Lions that continued to look the more likely.
An acrobatic attempt from Sean St Ledger forced another fine save from Kirkland, who proved a source of frustration for Millwall throughout the contest.
And the Owls might have nicked it when Johnson set off on a trademark run that took him past two defenders but the Jamaican's shot fell just the wrong side of the post.
But they did take all three points when Maguire superbly volleyed home Danny Pugh's corner right at the last to seal a huge win for Wednesday.