text:
Nigeria-São Tomé & Príncipe JDZ at wits' end 17 years on
By Kingsley Jeremiah, Abuja
14 October 2018 | 4:20 am
'Life of Nigerians should be considered too precious to be politicised'
6 hours ago Saturday Magazine
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Operation Amotekun: Metaphor for FG's indecisiveness on insecurity
Egina Deep Sea Oil Facility
In 2001, when Nigeria and São Tomé and Príncipe, an island nation close to the equator, signed a 45-year treaty for the joint exploration and exploitation of petroleum and fishing resources in a border region considered to be resource-rich, citizens of the two countries were hopeful that the pact would become productive and improve their standard of living, but 17 years after, the zone has remained fruitless.
The treaty, which was also a provisional solution to boundary and resource sharing related issues, became inevitable, to avoid crisis between the two countries should petroleum and other resources in the exclusive economic zone be exploited.
The agreement came into force on January 16, 2003 and was registered by the United Nations on October 3, 2003. With the pact, expectations were that over 500 million barrels of crude oil and other resources would be exploited and shared on the ratio of 60 per cent for Nigeria and 40 per cent for São Tomé and Príncipe. The Nigeria–São Tomé and Príncipe Joint Development Authority (JDA) headquartered in Abuja is an organisation established by the treaty to regulate activities in the zone.
Reportedly, the treaty is premised on the fact that Nigeria is traditionally Africa's regional powerhouse, the need for the countries to take charge of the economic resources in the zone, the need to avoid cases like the Bakassi Peninsular crisis that started in 1994 when Nigeria sent troops to the area, which resulted to clashes between soldiers from Nigeria and Cameroon.
This scenario led to negotiations between the two countries around 1998, and the issue was concluded under President Olusegun Obasanjo, with an agreement consisting of the treaty itself, an appendix and a Memorandum of Understanding (MoU). The treaty opens with a clear reference to Paragraph Three of United Nations laws on Sea Article 74, which stipulates that the parties take
"into account the United Nations Convention on the Law of the Sea. In particular, Article 74, Section Three, which requires states with opposite coasts, in a spirit of understanding and cooperation, to make every effort, pending agreement on delimitation, to enter into provisional arrangements of a practical nature, which do not jeopardise or hamper the reaching of a final agreement on the delimitation of their exclusive economic zone."
The Main Provision Of The Treaty
The major provisions of the treaty is the establishment of the zone in a specific area defined be coordinates, and it also created the Joint Development Authority (JDA) to develop and manage the petroleum and other natural resources in the JDZ, which the proceeds must be shared. The treaty varied for 45 years, is subject to a review after 30 years.
According to it, there will be no remuneration of claims for the period the treaty is in force, even as it approved an independent legal personality for the JDA and a Joint Ministerial Council (JMC) to have the overall political responsibility and to supervise the JDA.
Oil Prospecting In The Zone
The International Monetary Fund (IMF) in a report stated that the first bidding round for licenses in oil fields located in the JDZ was successfully concluded in April 2004, resulting in the award of block one.
The winning bid reportedly totaled $123m in oil signature bonuses, and the awardees were ChevronTexaco (with a 51 per cent operating share), ExxonMobil (with a 40 per cent share) and the joint Nigerian-Norwegian Dangote Energy Equity Resources Limited (with a nine per cent share).
ChevronTexaco was the designated operator under the consortium, while ExxonMobil executed its preferential rights obtained under the 1998 agreement with the São Tomean government. The Production Sharing Agreement (PSA) was signed in May 2005, and drilling exploration activities in the Block One area started in January 2006.
A second licensing round opened in December 2004 for equity in JDZ blocks 2, 3, 4, 5, and 6. Twenty-two companies participated, submitting a total of 26 bids. The signature bonus for the five high bids totaled $283m. The blocks were in the deep water 100 miles south of Port Harcourt. A participant in each block is ERHC Energy Inc., Houston, successor to Environmental Remediation Holding Corporation, which had reportedly established relationships with São Tomean officials since 1997.
The five blocks cover about 3,900 sq km only a few miles south of Akpo and other undeveloped giant oil and gas fields in Nigerian waters.
The JDA had awarded block one to a group led by Chevron Corporation, and an ExxonMobil Corporation affiliate. Nearest to Akpo and in 5, 700ft of water 190 miles north of São Tome Island, it went for a $123m signature bonus.
Block Two covering 692 sq km went for a $71m signature bonus. The operator with 65 per cent interest is a combination of Devon Energy Corporation, Pioneer Energy Resources Co., and ERHC. Block Three with 666 sq km went for a $40m signature bonus. The operator with 51 per cent interest is Anadarko Petroleum Corp. The combination of Devon and ERHC has 25 per cent. The combination of DNO ASA and EER (presumably Energy Equity Resources of Norway) has 10 per cent. A combine of Equinox Oil & Gas, Equinox & Energy Ltd, and Petro-China Co. Ltd. also has 10 per cent. Block Four covering 857 sq km went for a $90m signature bonus. The operator with 60 per cent interest is Noble Energy Incorporated and ERHC.
Block five with 1,091 sq km drew a $37m signature bonus. The operator with 75 per cent interest is identified as the ICC/OEOC consortium. ERHC holds 15 per cent.
Block six covering 588 sq km drew a $45m signature bonus. Operatorship and 85 per cent interest went to Filthim-Huzod Oil & Gas/DNO/EER/Sinopec. ERHC holds 15 per cent.
Oil Majors Abandon Zone As Criticisms Meet Alleged Operational Cost
The authority is facing immense criticisms for being a drainpipe, as it is said to be running on a yearly budget of $12m. But a source at the company, that is familiar with the organisation's finances debunked the claim, saying that the group has not spent such money since it started operation. Already, a United States (US)-based firm, ERHC Energy Incorporated, which has interest in blocks 2, 3, 4, 5, 6 and 9, reportedly invested over $500m into exploration activities without significant results.
The São Tomé and Príncipe's 2014 Extractive Industries Transparency Initiative (EITI) report released recently showed that since the JDZ was established, 43 per cent of all revenue from the zone had been spent on the Joint Development Agreement (JDA's) operating costs.
For instance, EITI said over $129 million out of the $302.6 million revenues generated from signature bonuses, sales of seismic data, licences, transfer fees and others, were used to settle JDA operating expenses.
Most international oil companies (IOCs) that pushed for drilling rights in the Zone, have backed off after a slew of dry wells, raising questions on how commercially viable the whole arrangement is. Total pulled out from Block One in August 2013, which was also previously abandoned by Chevron in 2010. After drilling two new wells in 2013, another oil company announced in July 2013 that the find was too limited to justify further investment.
Additionally, Sinopec and Addax were said to have also walked away from blocks two and four for the same reason.
A source in one of the IOCs, who preferred anonymity, said: "If the IOCs pulled out of the deal, it means the JDZ has no commercial value."
United States-based, ERHC Energy Incorporated, which has working interests in six blocks in the JDZ – Blocks 2, 3, 4, 5, 6 and 9, said it has drilled a number of wells, which did not yield desired results.
President/Chief Executive Officer, ERHC Energy, Peter Ntephe, in an email response to The Guardian, said the company last drilled some wells in the zone about seven years ago.
According to him, "from August 2009 to January 2010, ERHC and its partners drilled five exploration wells – one well in Block 2, one in Block 3, and three wells in Block 4. These were the first wells ever drilled in these blocks.
"Biogenic methane gas was discovered in at least three of the wells, but not in sufficient quantity to be declared commercial. Without a commercial discovery, there can be no appraisal, field development and then production. Further exploration wells will, therefore, have to be drilled in those blocks to see if oil and gas in commercial quantities can be discovered," he added.
Ntephe noted that ERHC had to rein in on its activities, as drilling in such areas is expensive, saying: "Exploration wells in deep offshore provinces such as the JDZ are expensive and costs over $100m each. There are also significant additional costs to the associated studies and work that goes into preparation for a well. The total cost of the drilling campaign by ERHC and its partners, as narrated above, was over half a billion dollar.
"When you ask therefore, about what is delaying production, the answer is simple – there has been no commercial discovery yet. As noted, without a commercial discovery, there can be no production."
JDA Hopeful Of Oil Find Soon
There are indications that the JDZ may become economically viable going by the level of renewed efforts by the countries. Indeed, hope is rising for the commercial viability of the 500 million barrels of crude oil reserves stranded in the region.
Though most IOCs, that pushed for drilling rights in the region left at some point, a top management staff of the company, who pleaded anonymity because he has no approval to speak on the matter told The Guardian that IOCs have indicated interest in returning to the zone.
While Nigeria sent a delegation to São Tomé and Príncipe earlier in the year to discuss among other issues, the need to strengthen the relationship, the source said the level of interest shown by the two countries, which included a visit of the Prime Minister of São Tomé and Príncipe to Nigeria recently were indications of readiness to improve the partnership.
Similarly, the source disclosed that the organisation has been rejiggerd with new workforce and have gathered new data on the viability of oil deposits in the region. This discovery, the source noted, could bring back Total, Chevron, Sinopec, Addax and ExxonMobil that pulled out of the zone over claims that it is difficult to drill there, and that the oil there has no commercial value after drilling some wells.
"If you are following the news, Nigeria sent delegations, which included about four ministers to São Tomé and Príncipe recently. A few weeks ago, the Prime Minister of São Tomé and Príncipe visited Nigeria. As far as the relationship between the two countries is concerned, on the economic aspect, JDZ is the main interest.
"There is a lot of renewed interest by oil majors in the zone. Some of the data we have now, were not available in the past. Also, they now have equipment for deep offshore drilling, which they didn't have in the past," the source said.
The source added that the difficulty in exploring at the zone was not the only reason that led to the pull out of IOCs from the region, adding that international politics, as well as, the oil market realities of the time created unfavourable situation for the investors.
JDZ Squirming In Alleged High-level Corruption, Financial Challenges
In the face of inability to produce meaningful results, the JDZ has lately been embroiled in alleged corruption charges. Even though the company's former executive director, Finance and Administration (name withheld) was at some point petitioned for financial misappropriation, sources at the company dismissed the allegations.
The director, whose tenure expired in October 2016, repotedly paid himself his full terminal benefits in December 2016, and remained in office beyond the period. NEITI also pointed out sometime ago that the company has no audited accounts.
Alleged financial dire straits, as well as, sharp practices reportedly crippled the execution of the multi-million naira contract awarded for the construction of the company's head office in Abuja.
In fact, the challenge supposedly forced the company to relocate from its initial luxury office located at No 117 Aminu Kano Crescent, Wuse II, Abuja, in 2016 to No 13 Audu Ogbeh Street, Jabi Abuja. This is even as a former chairman of the organisation, Luis Prazeres, a Sao Tomean, and foundation member who served on the board for six years before resigning told the media that funding challenge was affecting the outfit badly.
Prazeres, was quoted as saying: "In 2015, the situation became worse and we wrote to the two countries saying that the state parties should continue funding the JDA. We also stressed the need for the two countries to sit down and look at the JDA. We had an over-staffed organisation and funding problem."
Experts Chart Leeway For JDZ
An oil and gas expert and civil society campaigner, Dauda Garuba, said a situation where Nigeria has committed so much resources to the deal makes the nation's losses worrisome in the face of lack of results.
Even though he noted that pulling out of the deal could be difficult for the countries because of the surrounding situation, which borders on international politics, he cautioned that the country must tread wisely on the project.
"If you study the origin of the JDZ, it is based on an existing United Nations' resolution. It was the best approach to be adopted, the only challenge is that it has not yielded something yet. Whether to pull out, or hopefully invest is something that is entirely going to be political," Garuba said, adding that business-wise, the country would need to rejig the project or pull out, but prevailing foreign policy and security makes the situation difficult to address.
On his part, a former staff of Chevron and Publisher of Africa Oil and Gas Report, Toyin Akinosho, said since the Federal Government owns about 60 per cent stake in the project, the country must decide whether to rejig the company for profitability, or pull out of the deal.
In fact, a probe into alleged financial impropriety in the award of a multi-million naira contract for the construction of the company's head office in Abuja, as well as, the mismanagement of money from signature bonus compounded the firm's woes, as payment of staff salary and office space were already throwing the objective of the pact off balance.
Akinosho said even though the zone has no large deposit, there is a level of deposit that smaller companies must be allowed to take over, adding that, "the fact that the IOCs left signifies that something is seriously wrong, but all hopes are not lost."
According to him, companies like Kosmos Energy, which discovered oil in some Africa countries, where IOCs see no prospect at some point wouldn't mind exploring oil in places like the JDZ. The fact that Kosmos Energy is still in JDZ tells you something.
"The way the geology of petroleum works is that you might be the smartest guy in the world, after looking at the data and not seeing anything that convinces you that there is something, then some other organisation can come and make sense out of the data.
"The Zohr Oil find in offshore Egypt is located in an acreage that Shell had looked at for 10 years and they didn't find anything and then Eni came and looked at the same thing and found 30 trillion standard cubit feet of gas.
"It was the same thing with Kosmos Energy in Ghana. The clear thing about JDZ is geology, let's see what Kosmos will come up with," Akinosho said.
And for former President, Nigerian Association of Petroleum Explorationists (NAPE), Abiodun Adesanya, the fact that the management lacks the needed human capacity, especially people who understand the workings of oil and gas sector contributed to the failure of the bilateral trade.
JDAOlusegun ObasanjoSao Tome and PrincipeZohr Oil


Carpet weaving is an ancient Indian tradition, with the industry flourishing in the country 16th century onwards. Today, India is the world's largest producer and exporter of handmade carpets in terms of value and volume. Around 75–85 per cent of carpets manufactured in India are exported. Indian carpets are known worldwide for their excellent design, fascinating colours and quality.
India is responsible for around 40 per cent of worldwide export of handmade carpets. Exports of handmade carpets from India stood at US$ 1,427.00 million in 2017-18. Indian handmade carpets are exported to many countries in the world, US being the largest importer (US$ 731.84 million) followed by Germany (US$ 140.58 million), UK (US$ 78.52 million), Australia (US$ 56.25 million) and UAE (US$ 51.15 million). During April-October 2018, exports of handmade carpets from India stood at Rs 5,892.06 crore (US$ 853.55 million).
Export of silk carpets was valued at US$ 2.68 million in 2017-18. Between Apr-Oct 2018, exports of silk carpet stood at Rs 19.05 crore (US$ 2.76 million).
The Carpet Export Promotion Council (CEPC) is the apex body of exporters of hand-made carpets and other floor coverings in India. The Council assists exporters by identifying new markets, providing financial aid, sponsoring participation in worldwide events, arranging buyer-seller meets and resolving trade disputes.
Total export for carpets stood at US$ 1,427.00 million in 2017-18. Between Apr-Oct 2018, total carpet exports from India stood at Rs 5,911.10 crore (US$ 856.31 million).
Source: Carpet Export Promotion Council (CEPC), Department of Commerce, Ministry of Textiles.
Between Apr-Oct 2018, total carpet exports from India stood at Rs 5,911.10 crore (US$ 856.31 million).


text:
Researchers decode the hamster genome
Genome researchers at Bielefeld University decode the hamster genome
The genome sequencing started with the Chinese hamster (picture). Credit: © Kerstin Molthagen
Genome researchers from Bielefeld University's Center for Biotechnology (CeBiTec) headed by Professor Dr. Alfred Pühler have succeeded in sequencing the genome of the Chinese hamster. The Chinese hamster supplies the cell cultures used by the pharmaceutical industry to produce biopharmaceutical products such as antibodies used in medicine. This costly project was only possible thanks to a cooperation between Bielefeld University and its international project partners. The researchers have now published their results in the internationally renowned scientific journalNature Biotechnology.
To carry out this project, the CeBiTec research team cooperated with the University of Natural Resources and Life Sciences in Vienna (where the project was headed by Professor Dr. Nicole Borth), the Austrian Centre of Industrial Biotechnology (acib), and two pharmaceutical companies: Novartis (in Switzerland) and Pfizer (in the USA).
Professor Dr. Thomas Noll, Scientific Director of CeBiTec, is confident that the data they have obtained will be of great interest to science and industry. 'In future, the decoded hamster genome will greatly advance the use of cell lines to produce pharmaceuticals', says Noll, who runs the Cell Culture Technology research group at the Faculty of Technology and participated in the research project.
The genome of the Chinese hamster is composed of eleven pairs of chromosomes. Decoding such a large genome calls for the generation of large datasets that then have to be processed with bioinformatics. To facilitate the resulting data analysis, the researchers in Bielefeld and their colleagues in this project applied a completely new procedure that sorts the single chromosomes of the genome. The sequencing of the hamster chromosomes was performed by Dr. Karina Brinkrolf at CeBiTec. More than 1.4 billion short DNA sequences were generated with the help of modern instruments for next-generation sequencing.
Read more at: Phys.org
chromosomes (210)
genome (1071)

redpajama_set_name: RedPajamaCommonCrawl


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text:
'use strict';/**
 * @module
 * @description
 * This module provides a set of common Pipes.
 */
var async_pipe_1 = require('./pipes/async_pipe');
var uppercase_pipe_1 = require('./pipes/uppercase_pipe');
var lowercase_pipe_1 = require('./pipes/lowercase_pipe');
var json_pipe_1 = require('./pipes/json_pipe');
var slice_pipe_1 = require('./pipes/slice_pipe');
var date_pipe_1 = require('./pipes/date_pipe');
var number_pipe_1 = require('./pipes/number_pipe');
var lang_1 = require('angular2/src/facade/lang');
var async_pipe_2 = require('./pipes/async_pipe');
exports.AsyncPipe = async_pipe_2.AsyncPipe;
var date_pipe_2 = require('./pipes/date_pipe');
exports.DatePipe = date_pipe_2.DatePipe;
var json_pipe_2 = require('./pipes/json_pipe');
exports.JsonPipe = json_pipe_2.JsonPipe;
var slice_pipe_2 = require('./pipes/slice_pipe');
exports.SlicePipe = slice_pipe_2.SlicePipe;
var lowercase_pipe_2 = require('./pipes/lowercase_pipe');
exports.LowerCasePipe = lowercase_pipe_2.LowerCasePipe;
var number_pipe_2 = require('./pipes/number_pipe');
exports.NumberPipe = number_pipe_2.NumberPipe;
exports.DecimalPipe = number_pipe_2.DecimalPipe;
exports.PercentPipe = number_pipe_2.PercentPipe;
exports.CurrencyPipe = number_pipe_2.CurrencyPipe;
var uppercase_pipe_2 = require('./pipes/uppercase_pipe');
exports.UpperCasePipe = uppercase_pipe_2.UpperCasePipe;
exports.COMMON_PIPES = lang_1.CONST_EXPR([
    async_pipe_1.AsyncPipe,
    uppercase_pipe_1.UpperCasePipe,
    lowercase_pipe_1.LowerCasePipe,
    json_pipe_1.JsonPipe,
    slice_pipe_1.SlicePipe,
    number_pipe_1.DecimalPipe,
    number_pipe_1.PercentPipe,
    number_pipe_1.CurrencyPipe,
    date_pipe_1.DatePipe
]);
//# sourceMappingURL=pipes.js.map

redpajama_set_name: RedPajamaGithub


text:
Diener steht für:
 Diener, Dienstleistungsberuf
 Diener (Familienname), deutscher Familienname, zu Namensträgern siehe dort
 Diener (Patrizierfamilie), Münchner Patrizierfamilie
 Diener, siehe Verbeugung
 Diener, Handelsbeauftragter des Deutschen Ordens, siehe Schäffer #Lieger, Diener und Wirte

Der Diener ist der Titel folgender Werke:
 Der Diener (1963) (The Servant), britischer Spielfilm von Joseph Losey
 Der Diener (1989) (Sluga), sowjetischer Spielfilm von Wadim Abdraschitow
 Der Diener (2013), deutscher Kurzfilm von Gerd Schneider

Siehe auch:
 Diener & Diener Architekten, Schweizer Architekturbüro
 Staatsdiener, Begriffsklärung
 Stummer Diener, Möbelstück

redpajama_set_name: RedPajamaWikipedia


text:
sound off like you've got a pair
5 Unforgettable Quotes From R. Lee Ermey, The Iconic Marine-Turned-Actor Buried Today At Arlington
R. Lee Ermey was laid to rest at Arlington National Cemetery on Friday.
Best known for his iconic role as the Marine Corps drill instructor Gunnery Sgt. Hartman in the war drama Full Metal Jacket, Ermey died April 15, 2018 at age 74 due to complications from pneumonia, Task & Purpose previously reported.
A Vietnam War veteran and former Marine drill instructor, Ermey leveraged his military experience to pursue a career as an actor and technical adviser, who racked up more than 60 film and television credits, while still making time to support active duty service members deployed overseas.
Though his onscreen roles included a few "kid friendly" performances like his green army man, Sarge, in Toy Story, it was Ermey's knack for cutting loose with a string of profanity that bordered on poetic that so perfectly captured the image of the hard-as-nails Marine Corps drill instructor. He had a unique ability to be both hilarious and intimidating, and it's one that will be sorely missed and remembered.
Here are five of R. Lee Ermey's greatest rants, speeches, and quotes.
On recruit training
Perhaps one of the most iconic boot camp scenes of all time, nearly every sound, syllable and word that came out of his mouth during the first half of Full Metal Jacket is a gem, which is pretty high praise, not just of Ermey's performance, but because he also wrote about half of his lines, notes Rolling Stone magazine. Here's just a snippet of Gunnery Sgt. Hartman's welcome aboard brief:
"If you ladies leave my island, if you survive recruit training, you will be a weapon. You will be a minister of death praying for war. But until that that day, you are pukes. You are the lowest form of life on Earth. You are not even human fucking beings. You are nothing but unorganized grab-ass-tic pieces of amphibian shit!"
On discipline
Also from Full Metal Jacket, if you've stepped on the yellow footprints, you'll likely recall at least one drill instructor doing their best to mimic the legendary actor's colorful ass chewings, though none will ever be quite as good as this one:
"You little scumbag! I got your name! I got your ass! You will not laugh! You will not cry! You will learn by the numbers! I will teach you! Now get up! Get on your feet! You had best unfuck yourself, or I will unscrew your head and shit down your neck!"
On constructive criticism
In a 2010 advertisement for Geico, Ermey plays a therapist who gives some sage advice to his client.
"You know what makes me sad? You do! Maybe we should chug on over to namby-pamby land, where maybe we can find some self confidence for you, ya jackwagon!" Ermey says in the ad spot, before flinging a box of tissues at his client. Unorthodox, sure. Funny as hell? Also, yes.
Though Ermey's run as Geico's drill-sergeant-therapist was short-lived, allegedly owing to him being let go from the job after his public criticism of the Obama administration, it's possible that he may may have missed his calling in life.
On humor
During a History Channel special in 2001, Ermey discussed his time training Marine Corps recruits during the height of the Vietnam War. In the interview he shed light on a fundamental truth about Marine Corps recruit training: Your drill instructors are pretty much rage-filled stand-up comics.
"I'm a firm believer that the greatest instructors in the Marine Corps today and of yesteryear have always been just damn near stand-up comedians," he said in the segment.
And there's a lot of truth to this, just think about all the times you were told to do something totally bizarre, like hop across the squad bay saying "ribbit ribbit" because you decided to play around with the green cammie paint and the DI thought you looked like a frog. No? Okay, me either...
Another observation Ermey made during that History Channel interview is that no matter what, drill instructors will find a way to motivate a nasty recruit to complete whatever task they've set before him or her.
"I could have a private who can do nine pull-ups and damn it, when I'm through talking to him, he can do 12. Why? Because I've intimidated this private so severely that I've convinced him that he can do 12 or he's going to die. That's why."
SEE ALSO: 10 Things You Never Realized About 'Full Metal Jacket'
WATCH NEXT: Matthew Modine vs. Duffel Blog
r. lee ermey full metal jacket arlington national cemetary vietnam war quotes sound off like you've got a pair entertainment mandatory fun moviies u.s. marine corps
content.jwplatform.com


Back row from left: Shorewood Police Officer Weston Barlog, Mrs. America Nicole Cook, Sergeant James Butcher, Sergeant Nicholas Forster and William B. Orenic Intermediate School Assistant Principal Kaitlin Curran.
Middle from left: Officer Kim Giugler, Briana Sarne, Jessica Mikuta, Olivia Stigger, McKayla Rossow, Nathan Garcia and Zachary Nichtula.
Front from left: Mylee Pass, Alih Rangel, Shyann Parker, A.J. Askew and Alexis Castellanos.


text:
Q: Render two volumes simultaneously by blending them using image plane widget I am trying to visualize some 3D scalar data in mayavi. I am able to visualize the data individually by using the image plane widget. My goal is to blend two different scalar volumes of same size and spacing and display them using image plane widget.
I have already tried using image plane widget. Changing the opacity of the ipw but to no avail , mayavi instead of blending two cubes treats them separately .
import dask.array as da
import numpy as np
import util
import matplotlib.pyplot as plt
import scipy
from mayavi import mlab

in_path = '/home/user/Desktop/Attribute_Extract_v_0.1/small_vol.hdf5'
in_path_2 = '/home/user/Desktop/Attribute_Extract_v_0.1/anu_malik.hdf5'

data = util.read(in_path)
data_2 = util.read(in_path_2)

shaped_data_2 = np.array(data_2)
shaped_data = np.array(data)
print(shaped_data.shape)

vm = np.percentile(shaped_data,99)
vm2 = np.percentile(shaped_data_2,99)

vm_3 = np.percentile(shaped_data_2,20)
vm_4 = np.percentile(shaped_data_2,80)

#Use mayavi to plot the 3D seismic cube with xline , inline and , Timeslice

source = mlab.pipeline.scalar_field(shaped_data)
source_2 = mlab.pipeline.scalar_field(shaped_data_2)
source.spacing = [1, 1, -1]
source_2.spacing = [1, 1, -1]

vol = mlab.pipeline.volume(source_2, vmin=vm_3, vmax=vm_4)

for axis in ['x', 'y',  'z']:

    plane = mlab.pipeline.image_plane_widget(source_2,
                                    plane_orientation='{}_axes'.format(axis),
                                    slice_index=100, colormap='Spectral',opacity=0.2,  vmin=-vm2, vmax=vm2 )

    plane_2 = mlab.pipeline.image_plane_widget(source,
                                    plane_orientation='{}_axes'.format(axis),
                                    slice_index=100, colormap='seismic',opacity=0.5,  vmin=-vm, vmax=vm )
    # Flip colormap. you can choose to ignore
    plane.module_manager.scalar_lut_manager.reverse_lut = True

mlab.outline()
mlab.show()

results :
I want the two volumes to be blended and only one ipw visible , is there any way to achieve it.
same slice_index :

A: I think you forgot to update the slice_index for each dataset and each axis. Looking at your figure, both XY planes are plotted at the same location, but it is not the case for XZ and YZ. This likely means that, given a plane orientation, the slice_index does not represent the same spatial_location for both datasets.
Now, assuming you fix this and both sets of image_plane_widget perfectly overlap, how do you actually want to blend them and be able to distinguish them at the same time? Opacity might be the only choice here, and you may want to use plane_opacity. Another option would be to plot one dataset as it is now, and then to plot meaningful contours of the second dataset on top of it.
EDIT: I could not manage to apply any opacity to either a volume_slice or an image_plane_widget. However, it seems to work with scalar_cut_plane. The way the location of the plane is set is unfortunately different.
scp = mlab.pipeline.scalar_cut_plane(
    mlab.pipeline.scalar_field(data), plane_orientation='y_axes', opacity=0.5)
scp.implicit_plane.widget.origin = np.array([X, Y , Z])
scp.implicit_plane.widget.enabled = False

redpajama_set_name: RedPajamaStackExchange


text:
Myrteta minor är en fjärilsart som beskrevs av Reginald James West 1929.

Myrteta minor ingår i släktet Myrteta och familjen mätare. Inga underarter finns listade i Catalogue of Life.

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The perfect charcoal insole! Trim to your foot size.
Greenfeet 3 is the world's first insole for athletic use and everyday use with a custom molded, super-light weight Carbon Fiber arch support spring plate. Greenfeet 3 also contains a Bamboo-charcoal Poliyou, an advanced open-cell polymer that is stronger, lighter and highly breathable. Of course, these insoles will also contain our trademarked Eco-fabric that makes this insole antibacterial, and deodorizing.
This orthotic designed with the help of kinesiologists, is made of a unique carbon fiber composite shell providing balance, stability and support without the bulk of normal orthotics. It is also lightweight and suitable for athletic use and long leisure walks.
only 3 sizes, we can fit almost all shoe sizes and this greatly reduces our cost which we can pass it on to our customers.
Now you can own your very own advanced insole that supports your arches with a curved carbon-fiber molded insert and a comfortable Bamboo-charcoal Poliyou and Eco-fabric top, to use for leisure or serious sports.
? Open cell structure: 95% ventilation effectiveness ? Moisture absorbing, quick drying ? Anti-fungal and anti-bacterial ? Eco-friendly: excess materials are reusable.


(New York, NY) -- A federal judge is fining U.P.S. nearly a quarter of a billion dollars for illegally shipping hundreds of thousands of cartons of untaxed cigarettes in New York.
According to a court filing on Thursday, the judge in Manhattan federal court ruled that the shipments deprived the state and New York City of millions of dollars in taxes. The shipping company is ordered to pay a total of 247-million dollars in penalties to the city and state. U.P.S. says it will appeal.


text:
Google Pixel 3 leaks with notchless 5.5" 1080p display, dual front cameras with variable apertures, and more
2018/08/30 1:49pm PDT Aug 30, 2018
The Pixel 3 XL has been leaking left and right, and to put it lightly, people have not been happy with its massive notch. We're finally getting to see the smaller Pixel 3 for the first time, and it looks like this may be the Pixel to get this year for many of you.
Historically, the smaller Pixels have had huge bezels, but that's changing with this third generation. The symmetric, unintrusive top and bottom bezels with their dual front-facing speakers make for a non-XL Pixel that is - dare I say it - actually pretty good-looking from the front. The rear has the same design as the Pixel 3 XL's, which people seem to have mixed opinions on. Like its big brother, it'll probably have wireless charging.
The leakster here has taken the liberty of including several photos showcasing the specs. Unlike its predecessor, the Pixel 3 has a screen with rounded corners and an 18:9 aspect ratio. It's stated to come in at 5.5", but as we know, 18:9 screen sizes can't be directly compared with 16:9 figures. The battery comes in at 2,915mAh, which is a minor improvement over the Pixel 2's 2,700mAh unit.
Looks aside, what I personally find most interesting is the front-facing camera setup. We've known that the Pixel 3s will have two cameras on the front, likely for biometric purposes, but this is the first time we're seeing their specifications. Both cameras are 8MP sensors, but while one has an f/1.8 aperture, the other is listed as having both f/1.8 and f/2.2 apertures. Variable aperture tech only recently made its debut on the Galaxy S9+, so it's very odd to see it on the front of the Pixel 3. We'll leave it to those of you in the comments to guess why Google decided to do this.
One last tidbit: the leakster says in the comments that it's a test device for a carrier that isn't Verizon, meaning that Big Red's exclusivity is probably ending this year. We'll be finding out on either October 4th or 9th, but we're still over a month away from the unveiling either way. Hopefully we get more of the smaller Pixel leaked in that time, because it's actually looking pretty appealing this year.
/u/Pixel3Throwaway (r/GooglePixel)
Xiaomi releases render of Mi Mix 3 with sliding camera
Pocophone F1 lacks support for Widevine L1, HD playback in Netflix and other apps don't work
205 queries | 0.696s | forge Android is a trademark of Google Inc. | © Illogical Robot LLC, 2009-2019


This week we are excited to welcome Lara Willard to the world of the WordWraiths. Lara is a wonderful editor whose services you can find at larawillard.com. She has been kind enough to share some great rich content about the process of working with freelance editors!
Hi, I'm Lara, an absolute word geek. Since 2005, I've been tutoring the mechanics of English. Since 2008, I've been editing fiction and poetry at a university level, and since 2013, I've been freelance editing fiction and comics. Thanks for welcoming me to the Wordwraiths community!
I'm here to answer some questions writers often have about freelance editors.
Q: What do freelance editors do?
Freelance editors are small business owners hired (paid) by writers to read their work and give professional feedback. Many—if not most—freelance editors have other part-time or full-time jobs. They might be stay-at-home parents (a full-time job even if it's not paid!), teachers, librarians, or copy editors. Many freelance editors are also writers.
Q: Do I even need a freelance editor?
If you can get agents and book deals on your own, your publisher will have an in-house team of editors, copy editors, and proofreaders that will get your book ready for production. If you work with a traditional publisher, they pay you—you don't pay them.
If you know you need some extra help to get your manuscript ready, you can hire a freelance editor at any stage of your development. I've edited for editors and for agents who have published stacks of books.
All writers, even editors themselves, need at least an editor and a proofreader—the more proofreaders the better!—but if you traditionally publish, you won't have to pay for those services.
Q: How do I know when my manuscript is ready for an editor?
Depends on what you need! A developmental edit will help you develop (write) your manuscript or help structure it after you have a complete draft. An editor doing a manuscript critique will read your full manuscript and give 1-2 pages of feedback on any major, big-picture issues. A substantive or line edit will improve your voice by restructuring paragraphs, cutting unnecessary words, and strengthening word choice and sentence structure. A copy edit checks for spelling, grammar, syntax, facts, and consistency in content. A proofread is the final check before publishing for punctuation, typographical, spelling, or layout errors.
You can skip the developmental stage if you have a writer or creative friend to bounce ideas off when you're stuck. You can skip the manuscript critique if you have critique partners or beta readers read through your manuscript and give you feedback. You can skip the proofread if you're self-publishing and you have 5+ friends read through for errors (but you should probably at least gift them your book or take them out to dinner!).
Everybody needs line edit—that will either happen with the publisher, if you've already got a book deal, or with an editor you pay.
Q: How do I network with freelance editors?
Remember that, like writers, agents, and publishers, we're all people who love books. Unlike agents and publishers, freelance editors are not gatekeepers—we are paid by writers to help them, not paid by publishers to decide what will sell. To meet freelance editors, follow us on social media, follow our blogs, and connect with us by commenting or discussing books with us. The biannual #PitchtoPublication contest on Twitter and Pit2Pub.com will introduce you to a dozen freelance editors, and you can enter for a chance to get a manuscript critique. Or you can meet the "grammar avengers"—a team of university-trained editors I assembled at MSeditors.com.
Q: What are red flags when looking for freelance editors?
Anyone who is rude online.
Anyone who doesn't make his or her prices clear. Ask for a flat rate for the total or a price per word, not an hourly charge.
Anyone who doesn't send an invoice or contract (PayPal invoices can serve as both).
Remember—anyone can call him- or herself an editor, and anyone can get published by a friend or family member.
•	work experience with a nationally recognized publisher or imprint.
Copy editors and proofreaders need to know how to spell, use punctuation, or structure sentences. I saw a website last week of a team of published authors who were offering editing services. They'd make good developmental editors, but the copy on the site was so riddled with grammatical and typographical errors, I wouldn't go near them for copy editing. All humans make mistakes (Why doesn't Twitter have an edit feature?!) but multiple problems on a permanent website? That's a definite red flag.
A line editor should have a degree in English or professional (besides freelance) experience in editing. Remember, though, that graduates might be C students when it comes to editing.
Quick responses via email or Twitter are a great sign, but taking a while to get back to you isn't necessarily a red flag. Keep checking in with the editor if you're feeling ignored or fear your message got lost (e.g., an email every week or two). You should agree on a deadline before you make your payment, otherwise the editor should have a way of updating you to let you know when your work is to be expected. I have a queue online which clients can check to see what I'm working on, how long it will be before I get to their work, and when I expect it to be finished.
Q: How do I choose a freelance editor?
First: research! Pick someone with a website. Look for experience or credentials (listed above). Read client testimonials and see if those clients actually exist. Look for testimonials on Twitter (tweeted by people other than the editor). Look for success stories. Look for prices and services that align with what you need.
Second: ask for a sample edit! Editors need to see part of your manuscript in order to give an accurate quote and help you determine whether or not you'd work well together. Usually sample edits are 500–1,500 words, sometimes up to the first chapter for a critique. Get at least three sample edits from different editors and see who has the comments that resonate the best with you.
If it still comes down to two editors, decide based on how much experience they have with your age category and genre.
Q: How do I work with a freelance editor?
Understand that edits take time and therefore cost money. If you're paying for an editor, you're paying for that person's expertise and time. It took you a long time to write your manuscript, and it will take a long time to edit it.
Remember that you are the customer—so you have the final say regarding what stays and what goes, which edits you accept and which you reject.
But also remember that you hire an editor because you want a professional opinion. Some edits are objective (that's what proofreaders and copy editors look for), and some are subjective. The subjective ones are those that you might disagree on.
If you can't agree on something, ask for the editor's reasoning. If you both have good reasons for your opinions, get a second, third, or fourth opinion.
Bonus Q: What are your favorite writing or editing resources for writers?
Lara Willard is a pixelsmith and wordherder, host of the #pg70pit writing contest, and writing instructor at storycadet.com. She's edited for literary agents, Marvel Comics editors, poets, authors, and comic creators. While scribbling in margins and gutters, she sometimes tweets editing tips @LaraEdits. Lara lives in the Twin Cities with her husband, sons, and dog-show dropout Havanese. Connect with her on Twitter, on Instagram (@veritylane) or on her blog (LaraWillard.com).
Next postIt's 3 a.m., Do You Know Where Your Writers Are?


All natural, frozen (raw) baby clams for marine carnivores.
Allows finicky eaters to feed naturally from the shell.
Excellent for fish that need to grind their teeth.
Proven to trigger a natural feeding response in many finicky marine fish including angels and butterflies. Excellent for fish that need to grind their teeth including triggers and puffers.
All omnivorous and carnivorous fish including: Marine Angels, Butterflies, Puffers, Triggers, Tusks, Wrasses, etc… Can also be used for Freshwater Puffers and bottom feeders like Loaches and Catfish.
Fish should be fed two to three times a day. Only feed the amount that your fish will consume in five minutes. Remove any uneaten food.


"Probably the worst flood we have ever had here and highest the water ever was, was in the spring of 1969. It came up here and turned right around and went right back out."
Video Text: "You see that tree line right over there? That's the Minnesota River, just a few yards just past that tree line is the river, and it runs. It's a lot thicker that direction. It comes around like this, it loops around. [The Minnesota River has been] about two feet from running out on top up here. The fuel tanks over here were in the water, probably about, I don't know if you can see water marks on them or not, they were in the water about half way. Gradually we have been taking a couple away from this side of the creek, because we don't use these buildings anymore. The last time the water was that high was in 1993.
Probably the worst flood we have ever had here and highest the water ever was, was in the spring of 1969. It came up here and turned right around and went right back out. It was really running. One of the times it was running, the hardest flow I have seen was when they built the road. They got eleven inches one night and then a couple nights later they got nine more. You could hear the rocks rolling and down below they were tossing rocks around. The red rocks over here look water worn and up in New Ulm they have sharp edges, so it gives you an idea of how much they got tossed around."
Video Text: "Indians were here because they got the stuff out of the creek, had open water, shelter, and most of the time, in the winter time, you don't get any wind down in here. We have found a lot of [Indian artifacts]: pottery pieces out in the fields, arrowheads. My dad picked up two field knives, one chip of one, and one back half of one. They didn't use a lot of fields, most of them flint. They say that's why they came here because there is flint in the creek and most of the local arrowheads are made out of the flint that comes out of the creek. Up in the ravine, there is clay up there that they used. It's kind of a bright green layer of clay up in there, and evidently they wanted that.
The idea is that they camped here when they were hunting or fishing. They lived here because of the open water I think. It was easy, good hunting. Everything else had to have water in the wintertime. What a better place to get them"


text:
Follow @Arsenal_1000
Liverpool vs Arsenal
Arsenal vs Southampton
Manchester City vs Arsenal
Arsenal vs Chelsea
EVERY ARSENAL GAME IS AVAILABLE FOR WATCHING ONLINE
The home of the professional football team Arsenal Football Club is Islington, London, England. Arsenal competes in the Premier League, the top division of English football. The club has won a record 14 FA Cups, two League Cups, 16 FA Community Shields, one European Cup Winners' Cup, and one Inter-Cities Fairs Cup in addition to 13 league crowns. It is English football's third-most top franchise in terms of trophies won. The first team from the South of England to enter the Football League was Arsenal, who did so in1893. By1904, they had advanced to the First Division. They have only been demoted once, in1913, and have the second-most victories in greatest games in English football history. They have also maintained the longest winning run in the division. Gunners earned two FA Cups, 2 League Championships, and five League Championships in the 1930s. After the war, they added another FA Cup and two League They achieved their first League and FA Cup Double in the 1970–1971 season. They won five League championships and five FA Cups, along with two additional Doubles, between 1989 and 2005. Arsenal participated in the UEFA Champions League for 19 consecutive seasons from 1998 to 2017. Every game Arsenal will play in the 2022–2023 season will be streamed live on this Arsenal-focused website.
HOW CAN I WATCH LIVE STREAMING CONTENT OF AN ARSENAL MATCH?
This website was made just for ARSENAL streaming. On this website, you can watch live streams of every ARSENAL game. This is a brief tutorial on how to watch all ARSENAL matches from the Premier League, Europa League, FA Cup, and EFL Cup live online. We will also provide live feeds of all Premier League games in addition to ARSENAL.
HOW DOES THIS WEBSITE OPERATE?
So, here is the ARSENAL streaming website's home page. Your starting point will be the site, which lists all forthcoming ARSENAL games in order of date and time. On the day of the match, you may go to the specific page for the match stream links thread by clicking the "live stream" button next to the match. A link thread is often made available one hour or so before each game. For each of the ARSENAL games, there will be over 100 active links.
WHAT ARE ALL OF ARSENAL'S UPCOMING GAMES?
Saturday 30th July
The Emirates Cup
Friday 5th August
Wednesday 31st August
Sunday 4th September
Saturday 1st October
Saturday 8th October
Saturday 15th October
Saturday 22nd October
Saturday 5th November
Saturday 12th November
Monday 26th December
Saturday 31st December
THE 22-23 ARSENAL FC SQUAD NUMBERS HAVE BEEN CONFIRMED
This summer's transfer season has seen a lot of activity from teams, and Arsenal has spent the most money (€132m) thus far. It is clear that Arsenal is making every effort to finish in the top4, and they are prepared to spend a lot of money on new players to get there. First off, thus far, Arsenal has spent €52.5 million on Gabriel Jesus, €35 million on Oleksandr Zinchenko, €35 million on Fábio Vieira, €6.36 million on Matt Turner, and €3.5 million on promising Brazilian winger Marquinhos. Gabriel Jesus, a marquee acquisition, will carry shirt number9, which has previously been used by legendary players like Nicolas Anelka. Turner received jersey number30, Marquinhos chose number27, Zinchenko opted for number35, while Vieira chose number 21. Additionally, a number of players are coming back from loans, including Rnar Alex Rnarsson(#13), William Saliba, Héctor Bellern, Lucas Torreira, Ainsley Maitland-Niles, and Reiss Nelson. Arsenal will undoubtedly want to shed a few players before the new season starts given that they also have the record for having the greatest negative balance (-118 million euros). A deal for Fulham-linked German goalkeeper Bernd Leno is already the subject of rumors. Also previously connected to other teams were Kieran Tierney, Granit Xhaka, and Gabriel Magalhes.
Changes to the 22-23 Arsenal FC Squad Numbers
1.Gabriel Jesus
2.William Saliba
3.Fábio Vieira
4.Marquinhos
5.Matt Turner
6.Oleksandr Zinchenko
INITIAL 2022–23 SQUAD NUMBERS FOR ARSENAL
1 Bernd Leno
2 Héctor Bellerín
6 Gabriel Magalhães
8 Martin Ødegaard
10 Emile Smith Rowe
13 Rúnar Alex Rúnarsson
15 Ainsley Maitland-Niles
17 Cédric Soares
19 Nicolas Pépé
20 Nuno Tavares
21 Fábio Vieira
22 Pablo Marí
32 Aaron Ramsdale
33 Arthur Okonkwo
Prediction for 2021–2022
The goal for Arsenal next season will be to finish in the top four and qualify for the Champions League, although another year of consolidation may be in order. It could be challenging for Arsenal to establish sufficient stability to win the Premier League with several newcomers. They will indeed aim for a successful campaign in one of the domestic cup tournaments given the talent they currently have.
Arsenallivestream.com | Arsenal Live Stream


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El Paso Shooter is described Online as a Democrat. Democrats & Media Say He's A Republican. Who Do You Believe?
2020 CampaignMedia
By Raymond Draper	 Last updated Aug 4, 2019
Why did the media get it wrong about the El Paso Shooter being a Republican Trump supporter, instead of the way he was described online as "a registered Democrat" ? There's a damn good reason this time and it's hard to believe it's not coordinated because the libs changed the suspect from "Democrat" to "Republican" and then back again after the wrong info went out. Unreal.
The Walmart – Cielo Vista Mall shooter in El Paso, Texas suspect has been identified as Patrick Crusius from a Allen, Texas outside of Dallas. A self-described Democrat, Crusius left not only a manifesto – but may have been encouraged by left-wing groups who are now changing his Party affiliation to 'Republican' – despite the suspect's own written profile, describing himself as a Democrat:
Washington Examiner reporter Anna Giaritelli posted the name and a photos of the alleged shooter, sourced to law enforcement, "A law enforcement official in El Paso told me the Walmart shooter is in custody. Patrick Crusius of Dallas. Just turned 21 years old this week."
A law enforcement official in El Paso told me the Walmart shooter is in custody. Patrick Crusius of Dallas. Just turned 21 years old this week. pic.twitter.com/CEJh6rYij1
— Anna Giaritelli (@Anna_Giaritelli) August 3, 2019
However – Patrick Crusius also has a profile on MyLife.com, which was suddenly changed after the mass-shooting. MyLife gathers personal information through public records and other sources to automatically generate a "MyLife Public Page" for each person and at 2:46 PM on Saturday, August 3rd, MyLife had this profile for the deranged killer Patrick Crusius.
His original profile at 2:46 said he was a registered Democrat – check it out: Circled in red is where people can go in and change things.
Then at 2:50 PM SOMEBODY changed his political affiliation from Democrat to Republican… hmm.. The changes are circled in red below – what kind of idiots are these leftys? They didn't think we'd notice?
At 2:52 his profile was changed again.
His description now says he is a Republican and QAnon member. And they blamed Republicans for changing it. What?
'Then – they changed it back to the original "Democrat" description. Why?
Because it was just enough time for "journalists" and Democrats to get the wrong information out there and have plausible deniability when they're found to be lying. But it's too late then – and here's proof:
Enough is enough. America, when are you going to demand action on guns? Another senseless mass killing by a young white nationalist. Trump, you cannot escape accepting blame for these escalating killings in our country that are motivated by your race baiting!
— Maxine Waters (@RepMaxineWaters) August 4, 2019
Maxine Waters Blames Trump for 'Escalating Killings' After Shootings on Twitter. "Enough is enough. America, when are you going to demand action on guns?" she wrote on Twitter. "Another senseless mass killing by a young white nationalist. Trump, you cannot escape accepting blame for these escalating killings in our country that are motivated by your race baiting!"
But why isn't anyone blaming Antifa for planning a recruitment rally in El Paso? Scroll down for details:
Beto O'Rourke piled on during an interview on CNN's State of the Union, and said he believes the president is a white nationalist, Breitbart News reported.
By Saturday night the suspect's profile includes anti-Jewish slurs and links him to Trump and Jeffrey Epstein and calls him an Evangelical Christian.
Through a recruitment flyer and social media posts, the Domestic Terrorist Group Antifa planned to hold a rally in El Paso. Then the mass shootings came, then Democrats changed the shooter's profile online from 'Democrat' to 'Republican,' then Democrats blamed Donald Trump for the shootings.
Lt. Governor Dan Patrick has sent a clear message to Antifa, in light of the shootings: 'Stay Out of El Paso; Stay Out of Texas'
Antifa is leading a 'Border Resistance' militancy training tour that will converge on a 10-day siege in El Paso, according to flyers distributed by the group. Promotional images in the announcement show border enforcement officers being killed & government property fired bombed. At last, Antifa is going where they're not protected by left-wing politicians, like-minded campus officials, or law enforcement instructed to step down.
Antifa is leading a "Border Resistance" militancy training tour that will converge on a 10-day siege in El Paso, TX. The promotional image shows border enforcement officers being killed & government property fired bombed. Organizers asking for "white comrades" to pay for others. pic.twitter.com/zwG7iMLMZT
— Andy Ngo (@MrAndyNgo) July 29, 2019
The Organizers are asking for 'white comrades' to pay for others," to go on this "seige" with a drawing depicting deadly violence aimed at border agents.
VIDEO: A.N.T.I.F.A. Member Shot To Death In School After Drawing Down on Oregon Cops
In the upper right-hand part of the drawing are agents falling to their death, stuck with arrows, and another hanging on to the railing of the burning tower. There is a burning truck and a dead ICE officer stuck with arrows laying in what appears to be a pool of blood.
So why aren't these considered in CNN or NBC's reporting on the shooting.
Pete Buttigieg Goes There On El Paso Shooting: America 'Under Attack' from 'White Nationalist Terrorism'
6 Ways Democrat 2020 Candidates Plan to Remove Your 2nd Amendment Rights: Free Speech is first, however
Joe Biden Mutters Incoherently About Stacking Spaghetti Sauce At Weekend Speech To…
Another One Bites The Democratic Dust… Kamala Harris Quits 2020 Presidential Race
Man Ignores Joe Biden While Watching a Football Game at Diner in Iowa


text:
Singapore's UOB The FinLab launches The Greentech Accelerator to support greentech startups
|In Singapore, Sustainability
Singapore UOB innovation accelerator The FinLab unveiled Thursday The Greentech Accelerator, a new, global program aimed at supporting innovative greentech solution providers regionally and globally to drive their company's sustainable mission forward.
As part of the first cohort, the program will focus on greentech solutions including energy efficiency; zero-waste supply chain; carbon management and reporting, UOB The FinLab said in a statement.
To help these greentech startups and small and medium-sized enterprises (SMEs) grow and expand their business, the three month-long program will include: total funding of up to S$150,000 ($108,837) to tackle real-world challenge statements; valuable insights through educational environmental, social, and governance (ESG) and business masterclasses, talks and webinars; mentorship and peer-to-peer learning facilitated by UOB, the industry and institutes of higher learning and, a strong network of partnerships to build an ecosystem of industry leaders
"According to the 2022 UOB SME Outlook Study, 45 percent of SMEs surveyed believe having a sustainable core will benefit their business with multinational
companies that are now working towards their own sustainability goals. However, many small businesses have raised concerns about a lack of knowledge and limited resources,
"The Greentech Accelerator aims to respond to this challenge by mentoring innovative greentech solutions from around the world to offer relevant, deployable and cutting-edge solutions to meet the ESG needs of SMEs and businesses locally and overseas," said Shannon Lung, Head of The FinLab.
The Greentech Accelerator builds upon The FinLab's Sustainability Innovation Programme (SIP) which launched last year and matched over 80 SMEs to tech solutions and partners, offering them the opportunity to transform their sustainability efforts. It will fast-track the development of sustainable technology solutions through providing access to masterclasses, industry networks and world-class mentors.
The program will help solution-providers tackle real-world pain points from SIP participants and other SMEs to co-create solutions for partnerships and pilot projects, helping them kickstart their journey to a more sustainable business model.
"The Greentech Accelerator program is a testament to UOB's long-term commitment to forging a sustainable future with our customers and helping SMEs advance responsibly. As expectations from regulators, investors and consumers of businesses' ESG practices and performance continue to increase, innovative greentech solutions, in-depth insights and access to funding will be key to SMEs' sustainability journey," said Eric Lim, Chief Sustainability Officer of UOB.
The Greentech Accelerator is open to all innovative greentech startups and SMEs with a Technology Readiness Level (TRL) of six and above, focusing on the themes of energy efficiency, zero-waste supply chain, carbon management and reporting. The first program will accept ten companies for its pioneer cohort, with the goal of commercializing their solutions in order to help SMEs adopt green practices and technology.
"The Greentech Accelerator showcases UOB's commitment to driving real world sustainability solutions and aligns closely with MAS' vision to harness the power of technology and finance to drive a just and sustainable transition to a low carbon economy. We look forward to collaborating with UOB on this initiative under the ambit of Project Greenprint, and foresee the Greentech Accelerator's solutions empowering firms and SMEs on their sustainability journeys," said Dr Darian McBain, Chief Sustainability Officer, Monetary Authority of Singapore.
The FinLab is UOB's innovation accelerator that brings the ecosystem together to catalyze business growth and transformation. With a regional presence in Singapore, Malaysia and Thailand, The FinLab provides access to a range of business and technology experts, tools and content through The FinLab online and in-person programs.
These programs range from supporting the FinTech and start-up community in developing solutions, to assisting the SME community in going digital and innovating for sustainability. Founded in 2015, The FinLab has supported and connected with more than 14,000 businesses globally.
Singapore BNPL firm Pace raises $40M Series A funding from UOB Venture Management, Marubeni Ventures, AppWorks & others
UOB The FinLab


text:
Q: GStreamer qmlglsink vs gst_parse_launch() I'm new to Qt and GStreamer, but I need to create a simple player for a QuickTime/H.264 video file into a Qt 5.15.2 application (running on Linux Ubuntu 20.04 (Focal Fossa)).
I managed to play a standard videotestsrc (bouncing ball pattern) inside my application, and this is the code (main.cpp):
#include "mainwindow.h"

#include <QApplication>

#include <QQuickView>
#include <QWidget>
#include <QQuickItem>

#include <gst/gst.h>

int main(int argc, char *argv[])
{
    GstElement* mPipeline = nullptr;
    GstElement* mSource = nullptr;
    GstElement* mGLUpload = nullptr;
    GstElement* mSink = nullptr;
    QQuickView* mView = nullptr;
    QWidget* mWidget = nullptr;
    QQuickItem* mItem = nullptr;

    gst_init(argc, argv);

    QApplication app(argc, argv);

    MainWindow* window = new MainWindow;

    mPipeline = gst_pipeline_new(NULL);
    mSource = gst_element_factory_make("videotestsrc", NULL);
    mGLUpload = gst_element_factory_make("glupload", NULL);
    mSink = gst_element_factory_make("qmlglsink", NULL);

    gst_bin_add_many(GST_BIN (mPipeline), mSource, mGLUpload, mSink, NULL);
    gst_element_link_many(mSource, mGLUpload, mSink, NULL);

    g_object_set(mSource, "pattern", 18, NULL);

    mView = new QQuickView;

    mView->scheduleRenderJob(new SetPlaying (mPipeline),
                            QQuickView::BeforeSynchronizingStage);

    mView->setSource(QUrl(QStringLiteral("qrc:/video.qml")));

    mWidget = QWidget::createWindowContainer(mView, parent);

    mItem = mView->findChild<QQuickItem*>("videoItem");

    window->setCentralWidget(mWidget);

    window->show();

    ret = app.exec();

    g_object_set(mSink, "widget", mItem, NULL);

    gst_deinit();
}

SetPlaying class...
#include <QRunnable>

#include <gst/gst.h>

class SetPlaying : public QRunnable
{
public:
  SetPlaying(GstElement *pipeline) {
    this->pipeline_ = pipeline ? static_cast<GstElement *> (gst_object_ref (pipeline)) : NULL;
  }

  ~SetPlaying() {
    if (this->pipeline_)
        gst_object_unref (this->pipeline_);
  }

  void run () {
    if (this->pipeline_)
        gst_element_set_state (this->pipeline_, GST_STATE_PLAYING);
  }

private:
  GstElement * pipeline_;
};

The MainWindow code should not be relevant for the issue management (it's a standard empty window).
This is the source code of the only .qml item that's needed to provide an acceptable widget surface to qmlglsink:
import QtQuick 2.15
import QtQuick.Controls 1.1
import QtQuick.Controls.Styles 1.3
import QtQuick.Dialogs 1.2
import QtQuick.Window 2.1

import org.freedesktop.gstreamer.GLVideoItem 1.0

Item {
    anchors.fill: parent

    GstGLVideoItem {
        id: video
        objectName: "videoItem"
        anchors.centerIn: parent
        width: parent.width
        height: parent.height
    }
}

Now since the actual pipeline to plays the file is quite long and complex to manage the @ code I opted to use a gst_parse_launch() approach.
To proceed step by step, I tried to use such a method to create a videotestsrc pipeline, i.e.:
mPipeline = gst_parse_launch( "videotestsrc ! glupload ! qmlglsink", NULL);

mSink = gst_bin_get_by_name(GST_BIN(mPipeline), "sink");
mSource = gst_bin_get_by_name(GST_BIN(mPipeline), "source");

If I run the code this is the result:
(videotest:14930): GLib-GObject-CRITICAL **: 16:33:08.868: g_object_set: assertion 'G_IS_OBJECT (object)' failed

(videotest:14930): GLib-GObject-CRITICAL **: 16:33:09.342: g_object_set: assertion 'G_IS_OBJECT (object)' failed

Of course, the application window displays nothing.

A: You should give the elements a name property. They will default to ones, but they include a numerical value and are incremented whenever you rebuild the pipeline. So it is better to not rely on those.
To make your existing code work, try this:
mPipeline = gst_parse_launch( "videotestsrc name=source ! glupload ! qmlglsink name=sink", NULL);


The Podcast Promo swap directory is a great idea. I would love to be able to start putting promos in my show though I have noticed the Podcastpromoswap.com is a little lacking in shows, and I may of found why.
charging just to get listed. I understand that you have to make a living and your world centers around podcasting, and for a very good reason. Podcasts are the Cats Meow. Yet, most podcasters are going to go to the free places (i.e. forums).
Do you think that a free listing with premium listing section would work better? That way you can get your promo directory to start filling up and for maybe something like $10 you could have a month of top listing for a category. I would be able to get behind thatmodel a lot easiere than having to spend even two dollars just to get listed. This could be because I am a skinflint but who knows.


Wrapped with love and served on the go, feeding the farm crew gives me purpose.
We've been in the field for more than two months now. Field meals are getting harder to figure out.
Growing up on my family farm out west in Oregon, my mother never had to make field meals. Despite milking cows, we never raised crops. But, she did know a thing or two about cooking for a crew.
My late mother was self taught when it came to cooking. She grew up wealthy, and they had a personal cook. Yes, in her home, and no, it wasn't her mother. My father loved to tell everyone that he lost 20 pounds the first year they were married. But, soon after marriage, through trial and error, my mother learned to cook. Growing up on a farm will do that; so will having six children.
Mom took the role of head cook seriously; she felt every food group needed to be represented at dinnertime. Even when times were tough, meals were plentiful courtesy of farm grown beef in the freezer and my mother's garden on the back side of the house.
My late mother with her five daughters back in the early 1980s.
As a kid, I was embarrassed to go grocery shopping with her. She would fill up two carts. But, then again, she was feeding a small army. Later I would appreciate it, and so did my friends, the sales reps, and others who often joined us at the dinner table. One sales rep confessed he would make our farm his last stop because he knew my father was chatty and my mother would have a good meal waiting.
My mother made five pies and canned strawberry jam during my last trip to Oregon when she was alive. I remember her hooked up to oxygen but humming a tune, seldom taking breaks, and making a mess in the kitchen, something she very much enjoyed doing. When she could no longer help my father outside, cooking gave her a sense of purpose. She always made sure he came inside to a warm meal, and she always had homemade desserts on hand.
I often will lend a hand when it is time to feed our farm crew here at Bohnert Jerseys. And when I run out of ideas on what to fix and my pantry is bare, I think back to my late mother and generally can whip something up out of nothing.
This time of year, I've become pretty accustomed to making a mess in my kitchen to help feed our crew.
When the lunch wagon shows up, the men smile big. Crowd favorites around here are meatball sandwiches and mushroom and bacon Swiss burgers. The grill and Crockpot are my friends.
What is your favorite field meal to fix?


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Experiment details: "For the identification of slow exchanging amide protons, the protein sample buffer was replaced with a perdeuterated solution consisting of 20 mM KD2PO4 and 0.05% NaN3 in D2O, as previously described (36). This perdeuterated solution was prepared from the protonated buffer (90% H2O/10% D2O) at pH 6.0 by lyophilizing and redissolving in D2O twice. The buffer exchange was performed at 4°C with Vivaspin centrifugal concentrators (molecular weight cutoff of 10 kDa) in several rounds of filtration over 6–10 h. Following equilibration to 25°C inside the NMR magnet, a series of homonuclear TOCSY (alternating beween 30 and 80 ms spin lock time) and NOESY (alternating between 80 and 150 ms mixing time) experiments were collected over a period of more than 9 days (the first 3.5 days at 600.13 MHz and the remaining time at 499.87 MHz) in order to monitor the amide proton exchange."


In the first sitting of 2019 German Films' Distribution Support awards committee decided to support 45 foreign theatrical releases of German films. In total, 348.360 Euros were allocated.
In the third sitting of 2018, German Films' "Distribution Support" awards committee decided to support 27 foreign theatrical releases of German films. In total, 179,500 Euros were allocated.
In the second sitting of 2018, German Films' "Distribution Support" awards committee decided to support 22 foreign theatrical releases of German films. In total, 223.500 Euros were allocated.
In the first sitting of 2018, German Films' "Distribution Support" awards committee decided to support 38 foreign theatrical releases of German films. In total, 338.500 Euros were allocated.
In the fifth sitting of 2017, German Films' "Distribution Support" awards committee decided to support 18 foreign theatrical releases of German films. In total, 160.000 Euros were allocated.
In the fourth sitting of 2017, German Films' "Distribution Support" awards committee decided to support 25 foreign theatrical releases of German films. In total, 204.000 Euro were allocated.
In the third sitting of 2017, German Films' "Distribution Support" awards committee decided to support 31 foreign theatrical releases of German films. In total, 191.500 Euros were allocated.
In the second sitting of 2017, German Films' "Distribution Support" awards committee decided to support 22 foreign theatrical releases of German films. In total, 200.000 Euros were allocated.
In the first sitting of 2017, German Films' "Distribution Support" awards committee decided to support 24 foreign theatrical releases of German films. In total, 147.500 Euros were allocated.
In the sixth sitting of 2016, German Films' Distribution Support awards committee decided to support 23 foreign theatrical releases of German films. In total, 69,500 Euros were allocated.
In the fifth sitting of 2016, German Films' "Distribution Support" awards committee decided to support 22 foreign theatrical releases of German films. In total, 75.000 Euros were allocated.
In the fourth sitting of 2016, German Films' "Distribution Support" awards committee decided to support 15 foreign theatrical releases of German films. In total, 165,000 Euros were allocated.
In the third sitting of 2016, German Films' "Distribution Support" awards committee decided to support 16 foreign theatrical releases of German films. In total, 92,500 euros were allocated.
In the second sitting of 2016, German Films' "Distribution Support" awards committee decided to support 16 foreign theatrical releases of German films. In total, 121,000 Euros were allocated.
In the first sitting of 2016, German Films' "Distribution Support" awards committee decided to support 23 foreign theatrical releases of German films. In total, 232,500 Euros were allocated.
In the sixth sitting of 2015, German Films' "Distribution Support" awards committee decided to support 20 foreign theatrical releases of German films. In total, 138,500 Euros were allocated.
In the fifth sitting of 2015, German Films' "Distribution Support" awards committee decided to support seven foreign theatrical releases of German films. In total, 49,000,00 Euros were allocated.
In the fourth sitting of 2015, German Films' "Distribution Support" awards committee decided to support 25 foreign theatrical releases of German films. In total, 133,500 Euros were allocated.
In the third sitting of 2015 German Films' "Distribution Support" committee decided to fund 18 theatrical campaigns of German films. In total, 95,500 euros were allocated.
In the second sitting of 2015 German Films' "Distribution Support" awards committee decided to fund 19 foreign theatrical campaigns of German films. In total, 96,500 euros were allocated.
In the first sitting of 2015 German Films' "Distribution Support" awards committee decided to fund 16 foreign theatrical campaigns of German films. In total, 103,5000 euros were allocated.
In the fourth sitting of 2012, the "Distribution Support" awards committee funded eight foreign theatrical campaigns of German films with a total of € 55,000.
The "Distribution Support" committee supported twelve theatrical releases of German films abroad with a total of €123,000 at the fourth session this year on August 10, 2006.
At the third sitting this year on 21 June 2006, the "Distribution Support" committee supported twelve theatrical releases abroad of German films with a total of € 127.000.


text:
Farmington Queen Anne homes in center of development issue
Jena Stacey and Maria Taylor
This is the first in a series about redevelopment and historic preservation in downtown Farmington.
Four century-old homes-turned-businesses stand at the intersection of Grand River and Grove Street. Their location in front of the Maxfield Training Center, soon to be redeveloped, puts them front and center in a key decision over Farmington's future.
As the city moves toward changes to the downtown area, the question becomes: Preserve these Queen Anne homes and other heritage buildings that make Farmington unique, or replace them with new structures in hopes of bringing growth?
The four Queen Anne houses stand at the heart of the controversy, due to their highly visible location across from the Sundquist Pavilion. But they're not the only period homes in Farmington's downtown business district. Directly behind them, on Thomas Street, are three more homes from the same era, 1900-1920.
The seven houses served various functions over the years: residences, boarding houses, and dental and doctor offices, to name a few. Their owners were average, hard-working American families. An old Farmington directory shows that the Superintendent of Public Works lived on Thomas. The 1920 census mentions that a Detroit United Railroad (D.U.R.) motorman named David Woodruff owned the house at 33110 Grand River, next to the Methodist church.
A Canadian immigrant lived next door, at 33104. Looking out his front window, he could have seen the Warner Dairy Company, where his son worked as a driver. Down the street, near what is now The Vines, was a D.U.R. waiting room. The Farmington Flour Mill stood at the current site of the library. All these buildings are gone, along with 22 homes formerly located on Grand River, Thomas, and Grove.
Old homes, new uses
Today, the seven remaining homes are fully occupied, serving a mixture of retail, commercial, and residential uses. On Grand River, Johnson Investment Buildings I and II stand on either side of All About Women's Health Boutique (33104), which includes an upstairs apartment. The rightmost of the four houses is the Carl Gaiser Architect building (33018).
The homes on Thomas, which have been extensively modified, are used both residentially and commercially. One is a polygraph consulting firm. Another is a law office.
The Grand River houses retain their original structure, although vinyl siding and vinyl windows have altered their exteriors. Inside, most have been remodeled. The Carl Gaiser building, however, is architecturally intact inside and out, down to the original wood clapboards, windows, trim, and claw-foot tub. And the first-floor layout of All About Women's Health remains largely as it was in 1900.
Differing designations
Despite their age, none of these houses are recognized by the City of Farmington as historic structures. According to National Register of Historic Places guidelines, a property generally needs to be at least 50 years old to qualify as historic. But while the four Queen Anne houses on Grand River fit the age requirement, a 2010 Intensive Level Survey failed to find enough historical or architectural significance to formally designate them "historic."
City officials often refer to these buildings as "non-contributing." That's not accurate, because the terms "contributing" and "non-contributing" apply only to buildings in a historic district. The threatened homes are located outside Farmington's historic district, making them neither contributing nor non-contributing.
A vital role
Despite their lack of historic designation, the houses nevertheless play a major role in the overall feel of Farmington's downtown. According to the city website, Farmington is known for "a hometown quality of life…our historical downtown, elegant Victorian-style homes… ." Situated at the eastern entrance to downtown, the row of Queen Anne buildings sets the tone for the historic downtown, central to the city's individuality.
In that sense, they contribute significantly to the town's identity — what sets Farmington apart from other cookie-cutter suburbs in the Metro Detroit area. While the buildings may seem insignificant alone, they are part of a team — the Civic Theater, Korner Barbers, the Old Town Hall — that, collectively, proclaims the city's personality, creates pride of place among residents, and makes Farmington a unique community in which to live.
Not everyone in city leadership sees this importance. In September, city council voted to accept the Farmington Downtown Area Plan for redevelopment, which involves potentially replacing the Queen Anne houses with apartments, retail space, and a parking structure — permanently changing the look of the downtown area.
Meanwhile, the homes stand unprotected.
Anyone interested in learning more may attend a public meeting on Tuesday, Nov. 24, 7 p.m., at the Heritage & History Center in Farmington Hills, located in Heritage Park. For details, visit www.facebook.com/PreservationFarmington.
Jena Stacey and Maria Taylor are members of Preservation Farmington, a history advocacy group dedicated to saving downtown Farmington's historic architecture.


It contains an exclusive grit-free powder that removes dirt and smudges without harming drawings. It covers large areas well and can also be used to clean drawing tools.
Alvin Dry Cleaning Pad is rated 4.5 out of 5 by 2.
Rated 5 out of 5 by Anonymous from Most Useful Just great for getting rid of that extra carbon or pencil marks on watercolor paper before painting without removing all.
Thank you for requesting this information, we will contact the vendor for you regarding this.
can this be used prior to rubber stamping so that embossing powder won't stick everywhere?
The grit-free powder that removes dirt and smudges, it might work as a separation powder for your stamping area.


People in Worcestershire are being advised that, unless they have a life threatening condition, they should not go to A&E.
Over 780 people visited Worcestershire Acute Hospitals NHS Trust A&E departments on Saturday and Sunday. The Worcestershire Royal Hospital is particularly busy, with significantly higher numbers than normal for this time of year.
Patients are being encouraged to contact their own GP, visit their local pharmacist or dial 111 for advice and support about alternative services, such as Minor Injury Units in Malvern, Evesham, Kidderminster, Tenbury or Bromsgrove.
The county's three NHS Clinical Commissioning Groups (NHS Redditch and Bromsgrove, NHS South Worcestershire and NHS Wyre Forest) and Worcestershire Acute Hospitals NHS Trust, who run the county's A&E departments, are urging the public to know their options and choose their health services wisely.
Rab McEwan, Interim Chief Operating Officer at Worcestershire Acute Hospitals NHS Trust, said: "The Accident and Emergency departments at both our hospitals have been extremely busy this weekend and we have experienced the highest number of attendances since November 2014.
Jo Galloway, Chief Nursing Officer for NHS Redditch and Bromsgrove and Wyre Forest Clinical Commissioning Groups, said: "Demand on A&E has increased at the Worcestershire Acute Hospital NHS Trust over the weekend, so it is important that patients stop and think: does this injury or illness really require attendance at A&E?
"Many minor health problems and complaints such as muscular, minor sports injuries can be solved with self-care. Unnecessary trips to A&E not only put a strain on NHS resources but also put lives at risk.


An exhibition revealing the range of themes and motifs in Abstract-Expressionist painter Adolph Gottlieb's masterpieces. Featuring important museum loans, the exhibition showcases the extraordinary diversity of Gottlieb's work, from his early Pictograph paintings to his iconic Burst series. This will be the first solo exhibition of Gottlieb's work presented in Chelsea.
The Pace Gallery is pleased to present Adolph Gottlieb: GRAVITY, SUSPENSION, MOTION, an exhibition of the Abstract-Expressionist painter's mature work featuring twelve large-scale paintings made between 1954 and 1972. The paintings reveal the extraordinary range of Gottlieb's themes and motifs, showcasing a diversity that he first explored in the 50s and continued to modify and deepen through his late work. The exhibition includes examples from the primary series of Gottlieb's mature work—Labyrinths, Bursts, and Imaginary Landscapes—highlighting the dialogue between the three bodies of work as he made subtle but significant variations to a few familiar formats over three decades. Together, the paintings convey the persistent inventiveness that spanned Gottlieb's five-decade career. Adolph Gottlieb: GRAVITY, SUSPENSION, MOTION will be on view at 534 West 25th Street, New York, from March 24 through April 28. A public reception will be held on Friday, March 23 from 6 to 8 p.m. The exhibition will be accompanied by an exhibition catalogue with a new version of scholar Pepe Karmel's essay "Adolph Gottlieb: Artist and Cosmos," which first appeared in the catalogue for the 2010 retrospective of Gottlieb's work at the Peggy Guggenheim Collection in Venice. This exhibition marks the first one-person show of Gottlieb's work in Chelsea and the fourth at Pace since the gallery began its representation of the estate in 2002. As Martin Friedman, then Director of the Walker Art Center, wrote of the artist in 1963, Gottlieb had "arrived at a dispassionate world view, dispassionate because through form and color he envisages a universe in which human emotions are fused with rudimentary physical principles—gravity, suspension, motion." Gottlieb's work from age fifty onward represents the resurgence of his career, in which he created a new fusion of abstract composition and gestural brushstroke that was both in the vanguard and singularly his, resulting in a vision that was simultaneously microcosmic and macrocosmic. He remained productive until his death in 1974 and in the decade prior discovered new meanings in his personal vocabulary of shapes, endlessly exploring the possibilities of, as Clement Greenberg wrote in 1955, "[placing] a flat and irregular silhouette, that most difficult of all shapes to adjust in isolation to the rectangle, with a force and rightness no other living painter seems capable of." By inverting formulas, eliminating elements, drawing on motifs from his early work, and incorporating ideas of color theory, Gottlieb produced new work that was consistently fresh and contemporary. After years of largely focusing on the all-over image, as Gottlieb progressed he embraced a focused composition and a larger scale, as in the mural-sized painting Unstill Life III (1954–56). In addition, Gottlieb questioned the primacy of gesture that is paradigmatic of earlier Abstract-Expressionist painting, to focus instead on the impact of the entire image. The results are a refined statement of relationships as exemplified in works like Aftermath (1959). In that way, his simplified work anticipated the impartial focus on relationships of size, shape, and color that defined Minimalism. Likewise, he revisited elements from his earlier works—such as the calligraphy from his Pictographs of the 1940s—placing them as an animating force into works such as Open and Closed (1968–70). Gottlieb's mature work also reflects the legacy of his early association and friendship with fellow painters Barnett Newman and Mark Rothko. The three artists worked closely together in the 1930s and 40s, and as Karmel notes, all "[began] with the sublime melancholy of metaphysical painting, and [transformed] it into the sublime exaltation of the nineteenth-century Romantic landscape, expressed in the language of abstraction." Elements of Gottlieb's explorations from the late 40s, including an all-over composition and an allusion to cosmological elements, are evident in Labyrinth works like Black, White, Pink (1954) and his iconic Burst paintings, such as Pink and Blue (1971), respectively. Two of Gottlieb's Pictograph paintings are currently featured in Mythology, an exhibition exploring the influence of myth on the origins of Abstract Expressionism, on view at The Pace Gallery's location at 32 East 57th Street, New York, through April 14. Adolph Gottlieb: GRAVITY, SUSPENSION, MOTION includes major paintings loaned from the collections of the Museum of Modern Art, New York; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and the Smithsonian American Art Museum, Washington, D.C. In October the Akron Art Museum will present an exhibition of Gottlieb's sculpture, which will subsequently travel to the University of Michigan Museum of Art, after previously travelling in Europe to the Musée d'art moderne et d'art contemporain, Nice, France; Fundació Pilar i Joan Miró a Mallorca, Spain; and the Pfalzgalerie Kaiserslautern, Germany. A number of Gottlieb's works from the 1930s and 40s are currently featured in the exhibition American Vanguards at the Neuberger Museum of Art in Purchase, New York, curated by William Agee, Irving Sandler, and Karen Wilkin. Adolph Gottlieb (b. 1903, New York City, d. 1974, New York City) worked his passage to Europe when he was seventeen, after studying briefly at The Art Students League. He spent six months in Paris visiting the Louvre every day and auditing classes at the Academie de la Grande Chaumiere. He also studied at Parsons School of Design and the Educational Alliance Art School. Gottlieb participated in his first group exhibition in 1929, and made his solo debut one year later. In 1935, Gottlieb became a founding member of "The Ten," a group of artists devoted to expressionist and abstract painting. Eight years later, he would become a founding member of another group of abstract painters, "The New York Artist Painters," that included Mark Rothko, John Graham, and George L. K. Morris. In 1943, Gottlieb co-authored and published a letter with Rothko in The New York Times, expressing what is now considered to be the first formal statement of the concerns of the Abstract Expressionist artists. In 1949, Gottlieb organized the protest of an exhibition jury at the Metropolitan Museum of Art that would lead him and twenty-seven of his colleagues, all pioneers in the Abstract Expressionist movement, to be called "the Irascibles." Adolph Gottlieb participated in hundreds of exhibitions and received numerous accolades in his lifetime. Among his many achievements, he received the Grand Prêmio at the VII Bienal de São Paulo (1963) and the American Academy of Achievement award (1965), he was appointed to The Art Commission for the City of New York (1967) and elected to the National Institute of Arts and Letters (1971). In 1959, Gottlieb was invited to exhibit in Documenta II, Kassel, West Germany. In 1968, Gottlieb was honored with a retrospective exhibition organized by and shown simultaneously at the Whitney Museum of American Art and the Solomon R. Guggenheim Museum. The artist's work is in innumerable public collections worldwide, including the Albright-Knox Art Gallery, Buffalo, New York; Allen Memorial Art Museum, Oberlin College, Ohio; Art Institute of Chicago; Museum Frieder Burda, Baden-Baden, Germany; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Dallas Museum of Art; Detroit Institute of Arts; Museum of Ein Harod, Israel; The High Museum of Art, Atlanta; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Israel Museum of Art, Jerusalem; IVAM Centre Julio Gonzalez, Valencia, Spain; Jewish Museum, New York; The Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; Miami Art Museum; Modern Art Museum of Fort Worth; Musée d'Art Contemporain de Montréal, Canada; Musée National d'Art Moderne, Centre National d'Art et de Culture Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofía, Madrid; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Museum of Modern Art, New York; Nationalgalerie, Berlin; National Gallery of Art, Washington, D.C.; National Museum of American Art, Washington, D.C.; The Nelson-Atkins Museum of Art, Kansas City; The Pennsylvania Academy of Fine Arts, Philadelphia; Philadelphia Museum of Art; The Phillips Collection, Washington, D.C.; The Saint Louis Art Museum; The Solomon R. Guggenheim Museum, New York; Tate, London; The Tel Aviv Museum, Israel; Walker Art Center, Minneapolis; and Whitney Museum of American Art, New York. For more information about Adolph Gottlieb: GRAVITY, SUSPENSION, MOTION, please contact the Public Relations department of The Pace Gallery at 212.421.8987. For general inquiries, please email info2@thepacegallery.com; for reproduction requests, email reprorequest@thepacegallery.com.


How old is this hoglet?
'Sponsor a hedgehog' gift packs are thoughtful alternative presents for Birthdays, Christmas, Wedding gifts or other celebratory occasions. You can order a sponsorship pack for yourself or for someone else. Who doesn't love a hedgehog? The gift pack contains information about your chosen hedgehog, a photo of the hedgehog, information about Prickles Hedgehog Rescue, a Certificate of Sponsorship and a little gift.
You will receive a 6 month update on the progress of that hedgehog, and another update after 12 months, as the sponsorship period expires. Funds raised from sponsorship helps to pay for food, medication and general care of the hedgehogs.
The hedgehogs we have up for sponsorship are our 'ambassadors', each has its own story but represent the many hedgehogs we have in our care at any one time. The ambassadors will change from time to time as they get released back to the wild.
We are offering the opportunity to sponsor a hedgehog for £30 a year.
Gift packs will be sent to you (the purchaser) unless otherwise stated. If it is a gift, please email us after you have completed the purchase with the name and address of the recipient so we can send the follow up letters directly to them.
"Jammy Dodger is a cheeky chappy who got in a sticky situation when he got acrylic glue all down one side of his body. The glue has set hard and burnt some of his skin and he needs daily baths. Will you sponsor Jammy Dodger's rehabilitation?".
Your sponsorship will help Jammy Dodger recover.
Hooter is a gorgeous old girl who was found in a gutter with a horrendous face injury and a severe infection in her nose. She is so sweet-natured and deserves a second chance in her later years. Will you sponsor Hooter back to health?
Your sponsorship will help Hooter get better.
Petal's beautiful nest was disturbed by builders and she was callously thrown across the garden with her 5 babies. They have all been admitted to Prickles for treatment. Will you sponsor Petal's recovery?
Your sponsorship will help Petal recover.
Your sponsorship will help Tyson recover.
Donations are secure via Paypal. You no longer need a Paypal account and can pay by a number of different methods.
© Prickles Hedgehog Rescue. All rights reserved.


CENTER 8 TOWNHOMES For Sale in PHOENIX | Phoenix Condo Mania!
With condos ranging from 1,553 to 1,680 square feet, Center 8 eschews the old axiom that urban dwellings have to be cramped. These triple story units feature a garage and bonus room on the ground floor, large open living and kitchen area on the next level, with two sizeable bedrooms and baths on the top floor. Private balconies, stone countertops, high-end appliances, custom cabinetry and home automation all add to the appeal.
Located just south of I-10 in downtown Phoenix, Center 8 provides a chance for a reasonable commute with plenty of entertainment options. Along with small art galleries, restaurants and boutique shops in the neighborhood, Roosevelt Row is also home to First Fridays, a monthly artist street fair.
Want to sell your condo in CENTER 8 TOWNHOMES?
Urban infill is on overdrive in downtown and midtown Phoenix!
Over the last 180 days there have been no sales in CENTER 8 TOWNHOMES.


text:
Q: My text is auto-breaking when i didn't even add  tag I coded notifications in php, it works but it comes out looking like this...

I didn't add br tag so why is the TEXT breaking?
Here's the line of code...
echo "

" . $row["from_user_id"]. "  " . $row["from_username"]. " " . $row["not_text"]. "      " . $row["post_id"]. "" . $row["post_content_url"]. " " . $row["post_id"]. "
";

How do I fix this?

A: By default text will wrap to fit the container. If you don't want text to wrap set white-space: nowrap. If you then get a scrollbar you can add overflow: hidden.
Your container is only 50px wide.

A: You missed the
 at the of the echo.
Try this:
echo "

" . $row["from_user_id"]. "  " . $row["from_username"]. " " . $row["not_text"]. "      " . $row["post_id"]. "" . $row["post_content_url"]. " " . $row["post_id"]. "

";


Can I afford 8-10 Zenith Circuit?
Find out more about the pocket of 200 other addresses around 8-10 Zenith Circuit, Fyansford to get a feel for the area. Will you fit in? Or if you're planning to invest here, find out about local rental yields in the area. Every neighbourhood within a suburb is different. Our pocket insights give a greater level of detail than using just median data for the entirety of Fyansford.


As Filipino Americans, we all know or know of someone in our lives who is undocumented. That one uncle who left his family in the Philippines. That one auntie who's always "fixing her papers." That one friend who doesn't leave the house very often. According to various statistical computations, Filipinos who are undocumented in the United States number anywhere between 250,000 and 310,000, representing the largest Asian undocumented population. Far from being solely a Latino issue, unlawful immigration very much affects Filipinos in a multitude of ways.
In this episode of This Filipino American Life, we speak to Vanessa Vela-Lovelace, a community leader who spent much of her life as an undocumented immigrant, and Set Ronquillo, an immigrant rights activist who is currently undocumented. Vanessa and Set have led and continue to lead complicated lives because of their immigration statuses. Listen as they share their experiences of fear, anger, and hope living in the United States. And like Mateo Liwanag's character in the NBC show Superstore and Pulitzer-prize winner Jose Antonio Vargas, their stories will shed light on a huge part of our Filipino American community.


When Inverleith House was closed as a contemporary art gallery without notice by the Royal Botanic Garden Edinburgh's Board of Trustees two weeks ago, the decision provoked protests that included a petition that now has almost 9000 signatures, a mass visit on the final day of what may turn out to have been the gallery's last exhibition, and a wave of media interest. Product asked RBGE's Board of Trustees twenty three questions (see link below) about their decision regarding Inverleith House, which has been a unique space for contemporary art for thirty years, and exhibited work by many Turner Prize winners. To date, none of those questions have been answered. Today, an open letter was sent to the RGBE Board by more than 200 high-profile international artists, curators, writers, actors and musicians questioning the decision. International figures such as Tracey Emin and Callum Innes stand alongside writers Ali Smith and Irvine Welsh and actor Ewan McGregor expressing horror at the Board's plan to axe a major public asset without notice or consultation.