text:
Q: Wrapping a function with an indeterminate number of parameters in F# I'm trying to write a simple wrapper class in F# that takes a function that returns a string, and returns a function that takes the same parameters and returns the string from the input 'wrapped'.
The following code works for functions that take a single variable (so test works fine):
open System

let myFunc anotherFunc =
    fun x -> "boo" + anotherFunc x + "unboo"

let Func2 toDouble =
    (toDouble * 2).ToString ()

let test = myFunc Func2

let Func3 numOne numTwo =
    (numOne * numTwo).ToString ()

let test2 = myFunc Func3

do
    Console.WriteLine(test 10)
    Console.WriteLine(test2 5 10)

But because fun x -> specifies a single parameter, test2 is not valid code. Is there a piece of syntax that would allow for this construct?

A: The easiest solution is to write Func3 as a function that takes a tuple. This way, the function will take just a single parameter, but you can pass it both of the numbers:
// Function takeing a single argument, which is a tuple
let Func3 (numOne, numTwo) =
  (numOne * numTwo).ToString ()

let test2 = myFunc Func3

// The created function takes a tuple as well
Console.WriteLine(test2(5, 10))

In general, there is no good way to write a higher-order function that takes a function accepting any number of parameters. This kind of genericity cannot be easily encoded in F#. You could use Reflection to build something like that (but that would be inefficient and unsafe), or you could write some more complex encoding of parameters, but I think that tuple is the best option.

A: Your function works.
The problem is in your last line when you do
let test2 = myFunc Func3

should be
let test2 x = myFunc (Func3 x)

UPDATE:
I'm assuming you don't want to change Func3. Otherwise the solution from Tomas could be what you need.

redpajama_set_name: RedPajamaStackExchange


The Malvína Karlín preschool prepares children aged 3 or over for primary school using a unique educational programme with a focus on the creative arts and the English and Spanish languages.
The programme includes yoga lessons led by a physical therapist, music lessons with the director of the Mifun children's choir, and creative arts lessons with an art school graduate painter.
Into our team, we chose teachers, who are specialists in their profession, they have a long-time experience with teaching of children and they can develop children´s talent and personality. But the most important criteria is the feeling for working with small children, warm and individual approach.
Evangelical Academy Prague – Social Care Services, Ongoing studies of Special Education, UJEP.
Social Care Institute Sulická, CCG Hospital Krč., Founder and Executive Director of Malvína since 2012.
Charles University in Prague, Special Education and the University of South Bohemia in České Budějovice, Rehabilitation - Psychosocial Care for Handicapped Children, Adults and Seniors.
Assistant teacher in a kindergarten in Prague, professional nanny and volunteer at the Children's Centre in Australia.
Charles´ University of Prague, 1st. Medical faculty – subject physiotherapy. Fintness Instructor - Pilates and health swimming. Graduate of two degrees of piano.
Music teacher and choirmaster. Involved in pedagogical career continuously since 1994. Working with various school types, as well as creating his own artistic projects with children. In the reacent years predominantly works with a child choir Mifun. Plays trumpet, piano, recorders and percussions.
I would like to thank you for me and Amálka.
Amálka felt in love with the Malvina nursing school. She woke up every morning screaming "yeeaah we go to nursing school" and packed toys and bags and stuffed animals and clips and all other absolutely necessary things :) and she stood at the doorway dressed in skirt, headdress in her hair and rubber boots.
I rely on the first impression. Professional and human approach, beautiful environment and a program that is prepared for children, convinced me that I chose well. I never heard before, that nursing school would take children to art exhibitions, brought farm animals or go to restaurants for lunch. I admire the patience and I thank you very much for all the energy dedicated to the whole concept of nursing school. Children are lead to independence, cooperation with others and creativity.
We could not ask for a better kindergarten. Tom never ever cried when he had to go to kindergarten - actually on the contrary, he has to be assured that he is going to the kindergarten every day.
Teachers are great, they are really engaged for children,they know them and they trully love them and nothing is a problem. Programs that they are inventing are amazing and incredibly colorful and children develop perfectly.
Tom started going to the Malvína - Futurama (nursery) and now he goes to the Malvína - Karlín (kindergarten) and this change took place without any problem.
Originally I thought that Tom will go to Malvína only to a certain time and then he would eventually change to public kindergarten. Now we know that Tom will remain in Malvína until his school age, because this is how the kindergarten should look like!
We are all in love with Malvina. Thank you!
"We see our mission in a fact that child leaving nursing school Malvína and entering the school is ready to fully manage education, actively joining all activities in school and successfuly create relationships, which are so important at this age."
A child who starts school soon must be able to listen, wait for once and should be able to concentrate for a longer time. For this reason we prepare the children for the topics in elementary school for example in expanding the knowledge of numbers and shapes, develop language and writing skills, to increase scientific knowledge, but also about learning to learn, in a playful way.
Part of our curriculum are lessons of art, music, physical exercises in Sokol, yoga lessons, Spanish and English language lessons, Lego education, once a month visit to the theater, once a month trip to one of the many galleries in Prague, joint actions with parents, activities for parents and much more.
Parents can also use the services of a psychologist, a physiotherapist and a speech therapist for their children.
16:30 – 17:30 Kids choir in Malvína Karlín – Every Thuesday for kids older 4 years, lead by Jiří Polívka – Kids Choir Mifun. Only for those who are interested, this class is not included in total price.
* Lego education take place two times per month.
** My animal take place monthly.
"Our aim is to prepare children for school and all other aspects of life, so that children leave our care content, healthy, stable, and confident, and familiar with the rules of social conduct among peers and in school. We work to provide the children in our care with sufficient space and opportunities for self-expression."
As to the organisation of the school's lessons, Malvína offers maximum flexibility and comfort to the parents. Parents can choose from various attendance schemes ranging from 3.5 days a week up to an all-day program 5 days a week. Do not hesitate to call us. We are ready to meet your individual needs.
"Our programme is arts-focused we believe that developing creativity and supporting imagination is one of the best ways to help children develop their understanding and awareness of the world and awareness of themselves, to support and nurture their confidence and self-expression, and to help children develop as well-rounded individuals."
We are bringing you information on the admission procedure at the Malvína applicable in the school year 2019/2020.
You may apply to Malvína from March to April 2018.
It is also possible to apply for preschool admission during the course of the school year.
Please send your Application form directly to the School Director on the adress of preschool, or by the email. Upon receiving your application, the preschool will contact you to schedule an individual meeting with our management.
At Malvína, you will meet the teachers and you also have the opportunity to visit the classes. At the same time, you will learn more about the environment and facilities at the preschool. During our meeting, we make time to talk about Malvína philosophy, to introduce you to Malvína values, and to review the options that are available within our educational system.
School management evaluates all submitted Applications and sends out Admission Decision Notifications within 30 days of the date of submission. Upon receiving a letter of acceptance, the child's legal guardian signs the contract and pays the first month's tuition. Please note that tuition is non refundable.
1. The order of Application forms received.
2. Children with full attendance and for the entire school year.
3. Children whose siblings attend the Malvína Preschool or Malvína nursery.
In case of your interest or possible questions please feel free to contact us.


text:
Q: infinite scroll - python I am scraping a site using selenium. The site uses infinite scrolling, so I am trying to use selenium to scroll down and get more search results than those served after the first request.
I adapted the following, excellent script:
crawl site that has infinite scrolling using python
from selenium import webdriver
import time

driver = webdriver.Firefox()
driver.implicitly_wait(30)
verificationErrors = []
accept_next_alert = True

driver.get(my_url)
driver.find_element_by_link_text("All").click()
for i in range(1,100):
    driver.execute_script("window.scrollTo(0, document.body.scrollHeight);")
    time.sleep(4)
    html_source = driver.page_source
    data = html_source.encode('utf-8')

The web browser is opened using the url above. However, I get the following error message:
C:\Users\xxxx\Anaconda3\python.exe
C:/Users/xxxx/Documents/IdenSoft/unittest.py
Traceback (most recent call last):
File "C:/Users/xxxx/unittest.py", line 23, in <module>
driver.find_element_by_link_text("All").click()
File C:\Users\xxxx\Anaconda3\lib\sitepackages\selenium\webdriver\remote\webelement.py", line 77, in click
self._execute(Command.CLICK_ELEMENT)
File "C:\Users\xxxx\Anaconda3\lib\site
packages\selenium\webdriver\remote\webelement.py", line 494, in _execute
return self._parent.execute(command, params)
File "C:\xxxx\xxxx\Anaconda3\lib\site-  packages\selenium\webdriver\remote\webdriver.py", line 236, in execute
self.error_handler.check_response(response)
File "C:\Users\xxxx\Anaconda3\lib\site     packages\selenium\webdriver\remote\errorhandler.py", line 192, in check_response
raise exception_class(message, screen, stacktrace)
selenium.common.exceptions.ElementNotVisibleException: Message:

Process finished with exit code 1

How should I change the script for it to work?

A: This line have a probem : driver.find_element_by_link_text("All").click()
Try this:
from selenium import webdriver
import time
my_url = "https://aparat.com/khaledsss" #you can change this
#Open Browser
driver = webdriver.Firefox()
#Open Url
driver.get(my_url)
#for loop
for i in range(1,100):
    # * With this line You can skip infinite scroll
    #scroll to Down
    driver.execute_script("window.scrollTo(0, document.body.scrollHeight);")
    #Wait for 4 secend
    time.sleep(4)
# ... code ...


Hello again. As promised, here are the files for all 4 concerts at 320Kbps for your auditory pleasure. I'll post all 4 set lists in comments if that helps you choose which shows to download, though again, I recommend all 4! That way, even if you don't wanna keep 'em all, you can get at least one version of every song he did over these 4 shows.
More music on the way soon -- if not tonight, then tomorrow.
Acknowledgment again to Jeffen at Music Ruined My Life for finding the photo above, and for all the great GP posts he's put up in the past week. Check 'em out!
The songs in the medleys with "Don't Let It Break You Down" are just snippets, not full-length. "This Is How It Feels" is a song by the Inspiral Carpets that was a UK hit about a year before these shows. "I'm Free" is the Stones song.
Much thanks for making these available, and for the upgrade to 320. There doesen't seem to be much live Graham Parker available, and this is my favorite period of his (Struck By Lightning is my favorite album), so these are great to get. Thanks again.
I want to thank you for taking the time to encode these, again, at 320. Thanks for being open to suggestion! You're putting some great music up, that's for sure. Peace.
Thank you for this link - great artist & music.
Met Parker twice in the latter 80s/early 90s. Incredibly nice, witty, intelligent, open guy. Very pleasant in every way. One time he offered a friend and I all sorts of food and beer backstage, another time he ran from a cold bus on a terribly freezing February night just because he remembered us. Buy his stuff.
the megaupload links are well dead as one can imagine, can ANYONE point me to copies of these files PLEASE!!!!


Venous thromboembolism (VTE) has serious consequences for patients with cancer, including mortality. VTE is preventable with appropriate thromboprophylaxis, but prior public health efforts have focused on prophylaxis in the inpatient setting. However, most VTE events in malignancy currently occur in outpatients. Several recent clinical trials have addressed thromboprophylaxis in the ambulatory setting. Their findings suggest potential benefit, but with significant variation in underlying risk. A risk-adapted approach that incorporates risk of thrombosis, risk of bleeding, and patient preference can target high-risk patients and also allow low-risk patients to avoid prophylaxis. Risk assessment is therefore key to patient selection for outpatient prophylaxis. This article focuses on results of recent trials and updates from major guideline panels, with the intent of providing guidance to clinical providers.


text:
// Copyright (c) Microsoft.  All Rights Reserved.  Licensed under the Apache License, Version 2.0.  See License.txt in the project root for license information.

using System;
using System.Diagnostics;
using System.Globalization;

namespace Microsoft.CodeAnalysis
{
    internal struct CodeAnalysisResourcesLocalizableErrorArgument : IFormattable
    {
        private readonly string _targetResourceId;

        internal CodeAnalysisResourcesLocalizableErrorArgument(string targetResourceId)
        {
            Debug.Assert(targetResourceId != null);
            _targetResourceId = targetResourceId;
        }

        public override string ToString()
        {
            return ToString(null, null);
        }

        public string ToString(string format, IFormatProvider formatProvider)
        {
            if (_targetResourceId != null)
            {
                return CodeAnalysisResources.ResourceManager.GetString(_targetResourceId, formatProvider as System.Globalization.CultureInfo);
            }

            return string.Empty;
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
What Is Digital Payday About? Make $5,000 in a Day???
March 28, 2019 October 8, 2018 by Enxhi
Review of: Digital Payday
make money posting ads program:
Danial Bluth
Last modified:March 28, 2019
2 What Is Digital Payday About?
3 How Does Digital Payday Work?
6 ==> The Program that Successful Online Entrepreneurs Are Using ==>
What Is Digital Payday About?
Digital Payday is a program which claims to help people make passive income, to be exact it promises that you can make $5,000 in just 24 hours.
It claims to use some methods which companies like Google and Facebook have been using for years without getting noticed and right before our eyes. The system is owned by Daniel Bluth and he pretends to know some secrets about how this companies are making money and how to put them to use.
Facebook makes most of its money through advertising and this is something which Mark Zuckerberg has admitted. But what does this have to do with Digital Payday?
I have some reservations about this program which make me think that it can be a scam.
In the sales videos Danial claims that if you join Digital Payday you will have the possibility to make a lot of money, but he doesn't explain exactly how you are going to make so much money without doing anything.
The Digital Payday is free to join. But there is no proof that Digital Payday works.
How Does Digital Payday Work?
Danial says in the sales video that people who join the system don't need to have any specific skill to start making money with it. All you have to do is post some ads. There is no explanation on where the ads are going to be posted. Is it on Facebook? Or Google?
I have no idea because this detail is not explained on their sales material. But I know that regardless on where you are going to post the ads, you need to pay for them. But Daniel claims that anyone can get started with no cost. In fact, this doesn't make sense. Things don't work how he is explaining them.
1. Fake owner
Here is Daniel Bluth on the Digital Payday website:
And here is proof that he is just a stock photo:
In my opinion, there is no doubt that Digital Payday is a scam. There simply is no proof that the system works and once you are going to pay for ad space you will not receive anything back because your money are going to them. Now that we know that the narrator in the video is just a paid actor it is easier to conclude that it is fake.
2. Fake testimonials
On the sales video there are also some testimonials and they of course are paid actors too. Here's the proof:
The above woman is just a paid actress from Fiverr:
On the video you will also see a footage of Mark Zuckerberg saying that most of the Facebook's revenue comes from paid ads, but nowhere he mentioned Digital Payday of how it can make money for people who are interested in making a passive income.
3. Fake Mark Zuckerberg endowsement
What? They make it seem like Mark Zuckerberg endorses the program? It's so fake and they have really gone too far with this. I mean using the name of a famous person. I don't understand much of legal issues, but maybe he can even open a case against them.
This is a photo which existed long before this program existed and they literally have photoshoped the Digital Payday logo on his presentation.
Zuckerbarg hands, mouth and microphone are at the exact same place on this photo and also the shadow on this Apple computer. They are good at photoshop.
4. Doesn't make sense that it's free to join
The fact that the system is free to join can make you suspect on what the owner has to gain here. If the system works, why the owner is trying to help people free of charge? Unless, your spendings on ads will go to him.
5. Fake limited spots
He also says that the ads space is limited to 50, but I tried one thing. I sign up with different email and no matter of with how many emails you sign up, there is still a place for you. This also proves that Digital Payday is one of the most non-sense scams.
It is just made to lure people who would like to make money online and steal their money. It's so non-sense leading people to believe that they are going to make a lot of money online, practically doing nothing. The site uses fake testimonials and unrealistic income claims. It has all the signs of a scam.
7. Personal information to withdraw your money
In addition to everything mentioned above, they also ask you every kind of personal information to withdraw the money, which makes it even riskier to get involved with their program.
I find it strange because I earn money online and I never had to share that kind of information to withdraw the money. In any case you are not going to make $5,000 in 24 hours as the programs claims.
It is possible to earn money posting ads of companies, however, Digital Payday is created only to take advantage from people like you. They use the fact that most newbies don't know how the process works.
People who make money with ads join legitimate networks for free and they learn the process of building a successful online business. There are two ways of making money from ads: either you pay for ads space, or create your own ads space on your site.
In case you create your own space on your site, this means that you need to post useful content on your site that people like, so that you can get a lot of traffic to your site and you can expose them to ads. You can also create a YouTube channel and post ads in the middle, before, or along your YouTube videos. But visitors need to first come to your site for your content. Earning money with ads on your site requires a lot of traffic. Ad networks like Google Adsense and Media.net pay you in the form of pay per click.
The payment for a click on an ad from your site is very little. This makes your earnings very little in case you don't have a lot of traffic on your site. So, there is no way you could be making that much money in just a short period of time. Building a sustainable website traffic takes time and effort.
That's why I consider the Daily Payday a scam and I would say to avoid it at all costs. Most people fail to make money online because they are mislead by scams like this one.
Fortunately, there is a legitimate way to make money online and that is what I am following.
==> The Program that Successful Online Entrepreneurs Are Using ==>
What Is Instant Income Method About?
What Is Automated Income Sites About?

redpajama_set_name: RedPajamaCommonCrawl


Today's celebrations are named after St. Valentine, a Catholic priest who lived in Rome in the 3rd century.
Regardless of differences in the understanding of evolutionary theory, the fact is that things, ideas, civilisations, cultures and even nature do evolve and develop. Often these may evolve to such an extent that one may hardly find any resemblance to the object's original shape. One such example, almost like the one of St. Nicholas (Santa Claus), is today's celebration around the world – of Valentine's Day. It is not a surprise then to observe that the modern Valentine Day's celebrations have nothing to do with what our gentle friend, St. Valentine, had envisaged.
Today's celebrations are named after St. Valentine, a Catholic priest who lived in Rome in the 3rd century. There are many stories about St. Valentine and over time these stories kept evolving until it took its present shape.
The then Roman Emperor Claudius II believed that for the country's soldiers to remain completely devoted to their motherland, they should remain single. So he passed a law preventing the soldiers from marrying. The holy priest Valentine, having devoted his life to serve God and humanity, found this law quite inhuman. He thus devised a way to marry off these soldiers in secret, giving birth to his reputation of being a patron of married love.
Eventually Valentine was found out and jailed for his crimes against the Emperor. While imprisoned, Valentine cared for his fellow prisoners and also his jailor's blind daughter. Legend has it that Valentine cured the girl's blindness and that his final act before being executed was to write her an affectionate message signed "from your Valentine". He was executed on February 14 in the year 270. It wasn't until more than 200 years later that February 14 was proclaimed St. Valentine's Day. By this time Rome had become Christian and the then Pope proclaimed that day as St. Valentine's Day giving him a place on the Catholic Calendar of Saints.
While Valentine's Day is celebrated in most countries, different cultures have developed their own traditions for this festival. In some parts of the world Valentine's Day is observed as a day for expressing love between family members and friends, rather than that among romantic couples. Some traditions include leaving lollies and gifts for children and others include acts of appreciation between friends.
Whatever turn Valentine's Day practices might have taken, it is good to remember the heart of St. Valentine. The aim of his initiative was to help soldiers establish a happy family. For, it is the family where one gains one's first experiences of love and being loved. It is in the family that our capacity to love flowers and reaches its zenith. Despite the evolution of Valentine's Day celebrations in the last 1,600 years, would it not be worthwhile to let our genuine love evolve after the heart of St. Valentine's?


text:
HumanitiesEnlightenment Ideas In America example #44972
Enlightenment Ideas In America
Sienna Garcia
Read the excerpts from historical documents. From the Declaration of Independence: . . . all experience hath shown, that mankind are more disposed to suffer, while evils are sufferable, than to right themselves by abolishing the forms to which they are accustomed. From the Declaration of Sentiments: . . . all experience hath shown that mankind are more disposed to suffer, while evils are sufferable, than to right themselves by abolishing the forms to which they were accustomed. Why do Jefferson and Stanton include these similar excerpts in their documents?
to acknowledge the difficulty of challenging the status quo
Read the excerpt from the Declaration of Independence. He has endeavoured to prevent the population of these States; for that purpose obstructing the Laws of Naturalization of Foreigners; refusing to pass others to encourage their migration hither, and raising the conditions of new Appropriations of Lands. Which words in the excerpt have negative connotations? Check all that apply.
-prevent -obstructing -refusing
Read the excerpt from the Declaration of Sentiments. He has made her, morally, an irresponsible being, as she can commit many crimes with impunity, provided they be done in the presence of her husband. In the covenant of marriage, she is compelled to promise obedience to her husband, he becoming, to all intents and purposes, her master—the law giving him power to deprive her of her liberty, and to administer chastisement. Which statement best describes the relationship between Stanton's diction and her purpose?
Stanton uses words with negative connotations to emphasize the persecution of women.
Read the excerpt from the Declaration of Independence. And for the support of this Declaration, with a firm reliance on the Protection of Divine Providence, we mutually pledge to each other our Lives, our Fortunes and our sacred Honor. Which statement best describes the use of rhetorical appeals in the excerpt?
The excerpt relies on pathos by making strong emotional claims.
Read the excerpt from the Declaration of Independence. Nor have We been wanting in attention to our Brittish brethren. We have warned them from time to time of attempts by their legislature to extend an unwarrantable jurisdiction over us. We have reminded them of the circumstances of our emigration and settlement here. We have appealed to their native justice and magnanimity, and we have conjured them by the ties of our common kindred to disavow these usurpations, which would inevitably interrupt our connections and correspondence. They too have been deaf to the voice of justice and of consanguinity. What is the author's purpose in this excerpt?
to convince readers that Britain has treated the colonists unfairly
Read the excerpts from historical documents. From the Declaration of Independence: We . . . solemnly publish and declare, That these United Colonies are, and of Right ought to be Free and Independent States; that they are Absolved from all Allegiance to the British Crown, and that all political connection between them and the State of Great Britain, is and ought to be totally dissolved . . . From the Declaration of Sentiments: . . . we insist that they have immediate admission to all the rights and privileges which belong to them as citizens of the United States. How are these excerpts similar?
Both state demands.
Read the excerpt from the Declaration of Independence. We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty, and the pursuit of Happiness. That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government . . . Which statement best describes the relationship between Jefferson's diction and his purpose?
Jefferson uses words with neutral connotations to present a claim based on reason and precedent.
Read the excerpts from historical documents. From the Declaration of Independence: . . . That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. From the Declaration of Sentiments: Whenever any form of government becomes destructive of these ends, it is the right of those who suffer from it to refuse allegiance to it, and to insist upon the institution of a new government, laying its foundation on such principles, and organizing its powers in such form, as to them shall seem most likely to effect their safety and happiness. Why do Jefferson and Stanton include these similar excerpts in their documents?
because they are powerful calls to change that define their causes
Read the excerpts from historical documents. From the Declaration of Independence: For taking away our Charters, abolishing our most valuable Laws, and altering fundamentally the Forms of our Governments: For suspending our own Legislatures, and declaring themselves invested with Power to legislate for us in all cases whatsoever. From the Declaration of Sentiments: After depriving her of all rights as a married woman, if single, and the owner of property, he has taxed her to support a government which recognizes her only when her property can be made profitable to it. How are these excerpts similar?
Both offer accusations of legal oppression.
Read the excerpt from the Declaration of Independence. For taking away our Charters, abolishing our most valuable Laws, and altering fundamentally the Forms of our Governments: For suspending our own Legislatures, and declaring themselves invested with Power to legislate for us in all cases whatsoever. What ideas are associated with the words taking, abolishing, suspending?
The Enlightenment In England (Modern Humanities) OnMusic Appreciation: FINAL EXAM Midterm Master Quizlet Music Final H Music Appreciation Final example #73909 Unit 5 - Elizabethan Drama : The Tragedy Of Hamlet, Prince Of Denmark Music Appreciation Flashcards (Midterm) English 11 Appreciation Of Music English example #78979 Comparing Eighteenth-Century Texts On Slavery Ch.8 Unit Test APUSH Review English 4 From The Middle Ages Enlightenment Ideas In America English 3B Cumulative Exam AP Art History 250 example #85303 UNIT TEST (6) 84% AP US History Exam Review Music Appreciation Midterm example #17971 See more Quizzes


The gripper transport system BFS-R offers the most efficient possibility to feed a cutter via the rear-table. The jogged layer is transported towards the cutter over an angle of 90 and put down in front of the cutter's back-gauge. The first cut is effected at the larger side of the layer, as is common practise. The very compact construction as well as the very intelligent control guarantee a highly efficient system. BFS-R reduces the costs and minimizes the operator's physical strain.


Lee is a professional ecologist, naturalist, photographer and writer. He has more than ten years experience of guiding a wide variety of natural history tours all over the world and has worked as a bear guide in the Great Bear Rainforest. He has guided successful tours throughout Europe, The Arctic, South America, and Madagascar but has a particular passion for the wildlife of the Pacific Coast. Prior to relocating to Canada, he worked as an environmental educator and ecological consultant in the UK and has extensive experience of working closely with a wide variety of rare and protected species including bats and other small mammals. He is an enthusiastic all round naturalist and a good bird watcher, with a great ear for finding birds in dense cover and a good eye for identifying them too.
Lindsay is a professional teacher, naturalist, marine biologist, and photographer. She has lived in BC her entire life, and has been working as a professional naturalist and wildlife guide in the Pacific Northwest for more than 15 years where she has assimilated a wealth of knowledge about the wildlife and cultural heritage of the region. She is an experienced bear guide, has a particular passion for marine wildlife and the ecology of temperate rain forests, and a boundless enthusiasm for sharing her extensive knowledge and experience of this subject too. She has also worked as an advanced wilderness first aid instructor, high school science teacher, multi-day hiking guide, professional interpreter for the Vancouver Aquarium and as a fish monitor for the department of Fisheries and Oceans.


This is a special extended Christmas edition of The Living Word, featuring the original Christmas story as told in Luke 2 and Matthew 2. (It was originally going to just be Luke 2 but my daughter Rachel wanted the wise men included!) We hope you enjoy it and the God blesses you through it.
May your holiday weekend, no matter how or what you're celebrating, be filled with God's presence, and may you always be reminded of His love for you. Merry Christmas from all of us here at the GodCast Network!


Figure 3. Detaching mint self-adhesive stamps from a full pane can be tricky. The single stamp shown front and back at top left and center left looks much better than the stamp at right. The bottom photo shows these stamps should be folded back-to-back only, not front-to-front.
Whether you like them or not, you can say one positive thing about die-cut self-adhesive postage stamps: they hardly ever have perforation teeth that are damaged.
Perforation teeth are the paper points or tips that stick out around the edge of a stamp. Damage to these tips can occur through carelessness as stamps are being separated from one another or during processing through high-speed postmarking machinery.
Because the edges of self-adhesive issues are precut in a shape resembling perforation teeth, they are rarely damaged in any way.
Traditional stamps with water-activated adhesive bought at the post office are separated from one another by lines of perforation holes that surround each stamp, as shown in Figure 1.
It's easy enough to tear the stamps apart from one another, either to use for postage or to add a single stamp or block to a collection.
However, it is just as easy for your tearing to go astray, nipping off the corner of a stamp or even tearing through part of the design.
The United States 32¢ Ballet stamp shown at the top of Figure 2 illustrates one form of damage to perforations. The lower-right corner of the stamp was nipped off when the stamp was separated from the pane.
Compare the two enlargements of corners shown at the bottom of Figure 2. The stamp tips were darkened in the illustration to show the damage more clearly.
The corner pictured on the left is complete and undamaged. The corner at right is an enlargement created from the damaged stamp above it.
The best prevention for this separation problem is to weaken the tiny area of paper between the perforation holes before you begin tearing.
That's done by carefully folding the stamps straight along the line of perforation holes, first back-to-back, then front-to-front, and then back-to-back again.
Each time, when the stamps are completely folded, run your pinched fingers along the line of the fold, adding a little pressure to the fold to further weaken the paper fibers.
If you need to tear through unperforated margin paper around the stamp, you might try adding the pressure of a fingernail on the fold in the margin area to make a sharper crease. Otherwise your perforated stamps may separate well enough, but you could wind up with a scraggly tear through the margin.
Apply that fingernail pressure on the side of the fold that you won't be saving in your collection. That way, if you scrape the back of the stamp paper a little it won't make any difference.
Don't try to tear stamps around corners. That is, don't try to remove one stamp from a full pane, leaving the rest of the pane intact.
Removing stamps that way increases your chance of tearing off a corner.
Instead, separate a full row of stamps using the method described previously. Then, remove the single stamp from the end of the full row. That should reduce your chance of damage to the corners.
Scissors or razor knives should not be used to separate perforated stamps. Although you can make a straight cut along the holes using these tools, most collectors consider stamps cut from the pane through the perforations to be damaged.
Collectors expect a neat but natural torn separation.
Unfortunately there are other types of damage that may occur during stamp separation. If perforation holes are fairly large, the separated stamps may have unusually short perforation teeth along one or more sides.
These are called nibbed or shaved perforations because of their short appearance. Sometimes a single short perforation tip in an otherwise normal row is described as a nibbed perforation.
Try to make sure you fold through the center of the perforation holes to avoid this problem.
Damage from bends and folds is also a hazard. Because perforation teeth are fragile and stick out away from the paper, they are easily bent or creased. Collectors must always be careful handling stamps to make sure this type of damage does not take place.
The proper use of stamp tongs in handling stamps reduces the chance for such injury.
Self-adhesive stamps may suffer less damage to their teeth, but they present a new set of problems for the stamp collector.
Most smaller U.S. self-adhesive stamps are manufactured on a coated backing paper that is not die-cut in any way. To save a single stamp, the collector must peel off all the stamps around the one he wishes to save, leaving one stamp with exposed backing paper all around.
Of course, the peeled-off stamps may be used for postage.
The collector then can use scissors or a razor knife to trim around the mint stamp, leaving a little extra backing paper on all four sides.
Most larger U.S. self-adhesives are issued on backing paper that has die-cut slits through it, so the collector may separate and save one mint stamp or block from the full pane.
These backing paper die-cuts are not the most cooperative features, however. As the stamps shown in Figure 3 illustrate, you may wind up with a collectible stamp or an ugly mess.
The 32¢ Fish stamp shown at the top left has been neatly removed from the pane with the backing paper attached. The stamp still has a fuzzy appearance all around the edges, which is normal for stamps removed in this way.
The die-cut perforations of the stamp are not damaged, but the slit edges of the backing paper do not match with the die-cut perforations, causing the fuzzy look.
The stamp at top right really cannot be added to a collection. There is excess backing paper along the top of the stamp.
Even worse, backing paper along the bottom of the stamp is torn short leaving stamp adhesive exposed. This can be seen in the photo of the reverse of the same stamp, shown at center-right in Figure 3.
As with perforations, the backing paper die-cuts may be weakened through careful folding.
However, die-cut backing paper slits should be folded in only one direction: back-to-back, but not front-to-front, as shown in the photo at the bottom of Figure 3.
Because of the way the die-cut perforation tips join one another on these self-adhesive stamps, folding them front-to-front will bend and possibly damage the perforation tips.
Folding the stamps back-to-back once or twice before separating the mint stamps on backing paper should help to create a neater separation, such as on the Fish stamp at top left in Figure 3.
A few collectors have decided to eliminate the fuzzy appearance of the backing paper and the hazards of exposed adhesive by sticking the single stamp on a scrap of paper, waiting a day, and then soaking the stamp off in water.
The result is an unused stamp with no adhesive. It is no longer considered a mint stamp, and what little value a modern stamp might have is probably reduced by this method. However, the stamp presents a nice clean appearance in a stock page or stamp album.
Another alternative with these larger self-adhesives is to follow the same method described previously for smaller stamps on backing paper without slits.
Once the single stamp you wish to save has been selected, all the stamps or margin paper surrounding the stamp can be removed. Then the backing paper surrounding the stamp can be cut, again leaving a margin of paper that frames the single mint stamp.
The decision of how to save these self-adhesives, as with all stamps, often depends upon the preferences of the collector.


text:
Team adds four more points in China
P8 Sergio Perez
New Medium (20 laps) – New Hard (35 laps)
Sergio: "I'm very happy to score four points today. The start was fantastic: I saw a gap, went for it and it paid off. Our race pace was good: we were able to maintain the pace and manage the tyres well. It wasn't an easy race, though, because I was under pressure from Kimi for most of the second stint, which made it more difficult to look after the tyres and keep up the pace. It was the same with Daniel ahead of me – I think he was working hard to manage his tyres because every time I got close to him he found the pace to pull away again. This was never going to be our strongest track so it's important to take opportunities such as today and keep scoring points. I think we have the potential to be stronger at the next race in Baku."
P12 Lance Stroll
New Medium (20 laps) – New Hard (24 laps) – New Soft (11 laps)
Lance: "Today could have been better. We were in front of Albon before the first stop and then he undercut us by one lap and finished in the points, so it's a bit of a shame. We could have been more proactive, because we didn't have anyone immediately in front of us. I think it was Sergio or Raikkonen ahead at the time, about five seconds up the road, so we weren't really fighting anyone in front and we had Albon three seconds behind. It was just a classic undercut. It's disappointing, because once that happened we were in his dirty air and it was tough to overtake. We tried an extra stop at the end and got past Magnussen to finish P12, but it could have been more. Our race pace was not bad but we just need to look at the strategy, because I think we may have been able to pick up a point today."
Andrew Green, Technical Director
"We leave China with four more points in the bag and today's result means we've scored points in every race so far this season. Sergio drove a skilful race and managed the tyres well. He got himself in a good position on lap one and stayed out of trouble to bring the car home in P8. Lance was close to scoring points today, but just didn't have the track position to make the one-stop strategy pay off. Losing out to Albon at the first pit stop proved costly and he spent most of the afternoon chasing the Toro Rosso, fighting for the final point. We switched Lance to a two-stop strategy late in the race – taking a gamble – and giving him the final few laps on the soft tyre. He managed to pass Magnussen on the final lap, but there were a lot of blue flags to deal with which made things tricky. He made a great start and drove well, but the strategy didn't quite play out in his favour today."


text:
Germans Shouldn't Overreact to 6% Inflation
Jens Weidmann, president of the Deutsche Bundesbank, left, speaks to Olaf Scholz, Germany's finance minister, during the European Banking Congress in the Frankfurt Opera House in Frankfurt, Germany, on Friday, Nov. 16, 2018. European Central Bank (ECB) President Mario Draghi expects the euro area to continue growing in coming years even amid risks from protectionism that need to be monitored very carefully. (Photographer: Bloomberg/Bloomberg)
By Andreas Kluth | Bloomberg
November 23, 2021 at 2:41 p.m. EST
Just as Olaf Scholz, Germany's finance minister, is getting close to becoming chancellor of a new government, all sorts of numbers are going the wrong way in his country. One is the rate of coronavirus infections and hospitalizations. Another is that historic bugaboo of the German psyche: inflation.
It's been clear for months that inflation in the euro area is accelerating this year, and going up even faster in its largest economy than in most other parts of the currency union. Last month, German prices were 4.6% higher than a year earlier. Now the Bundesbank, Germany's central bank, has increased its forecast for November to a spike of about 6%.
There was a time when such a projection by what used to be the world's most hawkish central bank would have caused shock and awe in Germany and financial markets everywhere. "Not all Germans believe in God," a French former president of the European Commission once remarked, "but they all believe in the Bundesbank." Specifically, their faith is based on the conviction that the bankers in Frankfurt will do anything to keep prices stable. And a plus of 6% seems far from stable.
These days, of course, the Bundesbank is just one of 19 member institutions of the European Central Bank and can no longer dictate interest rates for an entire continent all by itself. But it still has sway.
That's why Germany's many monetary hawks, unhappy about not only low rates but also the ECB's huge bond-buying programs, have chosen to interpret the premature departure of Jens Weidmann as president of the Bundesbank as a form of protest. He tendered his resignation a month ago amid the increasing dovishness of President Christine Lagarde's ECB. His gesture certainly falls into a long tradition of German central bankers walking out of the Bundesbank or the ECB with passive-aggressive body language aimed at Europe's birds of a different feather.
The timing of Weidmann's exit, announced in October, was awkward. It tossed another bone of contention into the already iffy coalition negotiations between Scholz's Social Democrats, the environmentalist Greens and the pro-business Free Democrats. The first two parties lean dovish on monetary and fiscal policy, in Germany and the European Union. The third consists of unreformed hawks, at home and in Brussels.So the Free Democrats have their fiscal talons out. They want to restore Germany's balanced-budget rules, suspended in the pandemic, as soon as possible. They'll also try to prevent any kind of fiscal integration in the EU they'd regard as a "transfer union." By that they mean any arrangement in which taxpayer euros flow permanently from frugal countries (like Germany) into the bottomless pits of prodigal member states.
To get the FDP's ideas through, and to pad his own resume, the party's boss, Christian Lindner, appears to be pushing hard to become the next finance minister. That wish, however, clashes with ambitions for the same job by Robert Habeck, one of the Greens' leaders. If that conflict was hard enough, they'll all now have to argue about a replacement for Weidmann as well.
So there's a danger that the nuances in the Bundesbank report could get lost in the politicking. The main subtlety is that the current bout of inflation, though intimidating, is still almost certainly a temporary blip. Most economic forecasts agree with that outlook (see chart).
Much of the rise in German prices is due to one-off factors, such as exceptionally low bases in the pandemic's first year and a temporary lifting of some value-added taxes that are now taking effect again. The energy crunch affecting the whole continent and world plays a role too.
Once these special circumstances disappear again, the Bundesbank reckons, inflation could settle at about 3% in Germany for the foreseeable future. That's well above the 2% rate targeted by the ECB for the euro area as a whole. But after a long stretch when price rises undershot the goal, it hardly seems inappropriate that the rate in one member state should overshoot for a bit.
Scholz, who's so far tried to keep a low profile in the coalition talks so as not to alienate the more cantankerous Greens and Free Democrats, would therefore be wise to remind Lindner, in particular, and Germany's hawks, in general, of two things.
First, he should point out that fiscal and monetary policy should work together, not cancel each other out. One reason why European monetary policy has long had to be so loose — to the chagrin of German conservatives — is that German fiscal policy has been so, well, conservative. Let out those purse strings a little more, and the ECB might not have to keep money so easy, so long, to steer the euro area into a recovery.
Second, Scholz should remind Lindner that Germany is part of a currency union. The Germans can't expect the ECB, also headquartered in Frankfurt, to pay special homage to statistics in its host country, just as the Bundesbank before 1999 didn't hold a magnifying glass over inflation only in North-Rhine Westphalia, say.
So while it's good to be alert about inflation running out of control, the better policy for now — in Berlin, Frankfurt, Brussels and elsewhere — is to keep a lid on that German angst, and carry on.
Andreas Kluth is a columnist for Bloomberg Opinion. He was previously editor in chief of Handelsblatt Global and a writer for the Economist. He's the author of "Hannibal and Me."


· Music educators contribute to music in our society by promoting teaching music in schools, colleges and universities, and by promoting a greater interest in music and the study of music.
· Professional musicians contribute through their performance of music to the public in promoting the enjoyment and understanding of music. This Code is principally concerned with this role, though professional musicians also contribute by providing music for weddings, funerals, and religious ceremonies .
When the line between these different functions is blurred, problems may arise: Music educators may find that school programs they have built over the years are thrown into disarray. Musicians may suffer harm to their prestige and economic status. And those served by both educators and musicians students and the public— may find that they are poorly educated and poorly entertained.
This Code of Ethics sets out guidelines that will help educators and performers avoid problems stemming from a lack of understanding of each others' role. It does not address the many other issues that shape ethical behavior in performance and in education.
· School functions initiated by the schools as a part of a school program, whether in a school building or other site.
· Community functions organized in the interest of the schools strictly for educational purposes, such as those that might be originated by the parent and teachers association.
· School exhibits prepared as a courtesy on the part of a school district for educational organizations or educational conventional organizations or educational conventions being entertained in the district.
· Educational broadcasts that have the purpose of demonstrating or illustrating pupils' achievements in music study or that represent the culmination of a period of study and rehearsal. Included in this category are local, state, regional, and national school music festivals and competitions held under the auspices of schools, colleges, universities, and/or educational organizations on a nonprofit basis and broadcast to acquaint the public with the results of music instruction in the schools.
· Student or amateur recordings for study purposes made in the classroom or in connection with contest, festival, or conference performances by students. These recordings are routinely licensed for distribution to students, but should not be offered for general sale to the public through commercial outlets in any way that interferes with the normal employment of professional musicians.
· Civic occasions of local, state, or national patriotic interest, of sufficient breadth to enlist the sympathies and cooperation of all persons, such as those held by the American Legion and Veterans of Foreign Wars in connection with Memorial Day services.
· Civic parades (where professional marching bands exist), ceremonies, expositions, community-center activities; regattas; nonscholastic contests, festivals, athletic games, activities, or celebrations, and the like; and national, state, and county fairs.
· Functions for the furtherance, directly or indirectly, of any public or private enterprise. This might include receptions or public events sponsored by chambers of commerce, boards of trade, and commercial clubs or associations.
· Any occasion that is partisan or sectarian in character or purpose. These occasions might include political rallies, private parties, and other similar functions.
· Functions of clubs, societies, and civic or fraternal organizations.
· School groups should not be called on to provide entertainment at any time—they should be involved exclusively in education and the demonstration of education. Statements that funds are not available for the employment of professional musicians; that if the talents of school musical organizations are not available, other musicians cannot or will not be employed; or that the student musicians are to play without remuneration of any kind, are all immaterial.
· Enrichment of school programs by presentations from professional entertainers does not replace a balanced, sequential education in music provided by qualified teachers. Enrichment activities must always be planned in coordination with music educators and carried out in a way that helps, rather than hinders, the job of bringing students the skills and knowledge they need. The mere fact that it may be easier for a school administration to bring in a unit from a local performing arts organization than to support a serious, ongoing curriculum in the schools has no bearing on the ethics of a professional entertainer's involvement.
1. First, attempt to resolve the situation by contacting directly the other party involved.
2. Second, attempt resolution through the local representatives of the associations involved. The local of the AFM should be accessible through directory assistance. The officers of MENC state affiliates can be found through the MENC site on the World Wide Web (www.menc.org) or by calling MENC headquarters at 1-800-336-3768.
3. Finally, especially difficult problems should be resolved through mediation. Help with this mediation is available by contacting the national offices of the AFM and MENC.
This code is a continuing agreement that will be reviewed regularly to make it responsive to changing conditions.


I like Christmas shopping. But let me clarify that statement a little bit. I try and pick up my Christmas presents long before Christmas. Trying to make thoughtful gift choices when surrounded by irate crowds of shoppers is not my idea of fun, so I tend to pick up bits and pieces throughout the year as I see them and squirrel them away for later. Then when December rolls around, I can enjoy Christmas shopping. To me, Christmas shopping is wandering without a destination in mind, casual and relaxed, hands wrapped snuggly around a hot cup of tea, and enjoying the decorations, the window displays, the hustle and bustle and the festive atmosphere.
And I can enjoy it, because I'm all finished, and I don't need to take part in the madness. On my perfect day out in November (you can read about my morning here) I had two or three small items to pick up to complete my list. The afternoon was mine to enjoy, and with my shopping complete, my camera and I took in a few of the festive sights.
No day in London would be complete without a matinee in the West End. Having picked up a cheap ticket to Made in Dagenham in the morning, I was more than happy to settle into my seat and take in the performance. And I LOVED it! I would highly recommend this show; it was witty, the songs were good and catchy and I was completely engrossed in the characters. The set was also incredible; it has to be seen to be believed.
My Perfect Day concluded with my piling tired but content onto my sofa with blankets, take-away pizza and a Richard Curtis film. They are somehow ever-so-cosy in the winter, and I elected to watch About Time which I hadn't see since it was in the cinema. It's still great!
P.S. You might think that Love Actually would have been a better choice, given that it's a Christmas film which takes places largely in London. But I'm going to go and see that in the cinema later this month, and so don't want to watch it before then!
Love your post.....beautiful photos.....lovely stories.....theatre recommendations.....and Richard Curtis mentions.....LUCKY YOU you can go and see L.A. IN THE CINEMA!!!! Am v. envious!!!!
Sounds like my idea of christmas shopping as well.
Your daytime shots of the Christmas lights are brilliant. I might borrow that idea this week and pair them with my night time ones from last Friday.
Christmas shopping definitely is more about the wandering and pretty lights watching that present buying for me. In France most big cities have what we call Xmas Markets in December which is the cutest thing ever (also, hot wine), I'm going there next weekend, very excited!


In a given year, relatively few Americans take advantage of the federal income tax deduction for unreimbursed medical expenses. But if an illness or hospitalization in the family has led to an abrupt rise in your out-of-pocket health care expenses, you may find you qualify for some relief at tax time. Beyond the usual remittances to physicians and hospitals, the IRS includes in its definition of "medical expenses" payments for a broad range of items and procedures, including medical equipment and supplies, orthodontia and dentures, home improvements to accommodate a person with disabilities, and a wide array of mental and physical therapy regimens.
As with all deductions of this kind, it is essential to keep receipts and other documentation to substantiate the expenses claimed. If you are uncertain as to whether you can take advantage of the deduction, maintaining good records will show you how close you are to exceeding the 10% floor. To improve your chances of qualifying, consider "bunching" your medical expenses or making as many of your health-related purchases as possible in a single tax year. For married couples who would not otherwise qualify, filing separately may allow the lower-income spouse to take advantage of the deduction.


text:
AV Festival 08 - 28 Feb - 8 March 08 - programme	available
The Lost Arcade Games of the...
crude - syringe/insect 2008 -...
24 Jan 2008 24 Jan '08
Kia ora Ada, I hope this email finds you well and enjoying your summer. Here there is a howling gale outside and it is sub-zero, so enjoy your warm summer days! ;-) Please find below the programme announcement for AV Festival 08: Broadcast in the North East of England. The AV Festival <http://www.avfestival.co.uk/> is a biennial international festival of electronic art, moving image and music. The next festival takes place 28 Feb - 8 March 08 and is on a topic very close to my heart - broadcasting! It features Marko Peljhan (Slovenia), Harun Farocki (Germany), Tetsuo Kogawa (Japan), Autechre (UK), Joyce Hinterding (Australia), Yuko Mohri (Japan), Jean-Jacques Perrey (France), Chris Watson (UK), People Like Us (UK) and many many others. I have included an announcement about the festival below. The full programme can be downloaded or viewed from the AV website: http://www.avfestival.co.uk/ A fully searchable version of the programme will be online by the end of the month. I would be delighted if some of you would consider attending the festival. if ou happen to be visiting Europe during February/March, I would be honoured to welcome you here in the North East of England. I would be very happy to help design an itinerary for anyone of you who wished to attend. Please do not hesitate to let me know if you want more information about the festival. Sincere apologies for cross-posting! Very best wishes Honor Harger Director, AV Festival 08 http://www.avfestival.co.uk/ AV FESTIVAL 08 - PROGRAMME ANNOUNCEMENT AV Festival 08 http://www.avfestival.co.uk/ Newcastle, Gateshead, Middlesbrough, Sunderland, UK 28 February - 8 March 2008 The AV Festival <http://www.avfestival.co.uk/> is a biennial international festival of electronic art, moving image and music. AV Festival 08: Broadcast will take place across the three urban areas of NewcastleGateshead, Sunderland & Middlesbrough, 28 February - 8 March 2008. The theme of the festival is broadcast. The UK has begun to switch off analogue television signals, paving the way for television to become entirely digital. At the same time the internet and mobile networks have created opportunities for us to 'broadcast ourselves' in entirely new ways. As the landscape of broadcasting changes irrevocably, AV Festival 08 will be a catalyst for debate about the future of broadcasting, and an event to celebrate a century of on-air and online transmission. AV Festival 08: Broadcast features of over 100 new commissions, exhibitions, screenings, concerts, workshops and events, including: - a new performance of John Cage's Variations VII performed by :zoviet*france: & Atau Tanaka - a newly commissioned outdoor performance by Marko Peljhan - a contemporary version of the famous radio War of the Worlds radio play, directed by Joanna Read - performances by Autechre, the BBC Radiophonic Workshop, Jean-Jacques Perrey, Broadcast, Disinformation, Long Range & many others - a newly commissioned sound installations by Chris Watson, Marcus Coates, People Like Us and others - exhibitions by Joyce Hinterding, Harun Farocki, Staalplaat Soundsystem, Yuko Mohri, Sonia Boyce, Ryota Kuwakubo and others - a major new touring exhibition, Broadcast Yourself, featuring Bill Viola, Chris Burden, Nina Pope & Karen Guthrie & others - a conference featuring Atau Tanaka, Douglas Kahn, Brandan Labelle, Heidi Grundmann, Andreas Broeckmann, Tao G. Vrhovec Sambolec & others - workshops lead by Tetsuo Kogawa, Raitis Smits, Caitlin Jones and others - a screening programme of bold and innovative television - 3 FM radio stations, including Resonance FM broadcasting from mima in Middlesbrough ___AV Festival 08: theme http://www.avfestival.co.uk/introductions/honor_harger We have just entered the second century of broadcasting. And it finds us on the apex of massive change. The switch off of analogue broadcasting has now started. Information and entertainment which has been sent via the airwaves since the beginning of the 20th century is going digital. What does this mean for the future of broadcasting? Does the switch to digital create greater possibilities for cultural and community participation in broadcasting? Or will the switch create more complex regulatory frameworks, which disempower potential broadcasters? Will the airwaves fall silent after the switch off? What is the fate of the part of the spectrum that radio and television use now? Will this valuable natural resource be opened up for public use? Or will these frequencies be sold to mobile telephone companies or the military? The answers to these questions may define our entertainment culture for the next decades, and will provide the backdrop for AV Festival 08. At the same time as traditional broadcasting faces transformation, the internet has emerged as a key network for the distribution of audiovisual material. It seems that the webcasting revolution promised at the end of last millennium is just beginning to bear fruit. Then, artists such as Van Gogh TV, Active Ingredient and Nina Pope & Karen Guthrie (Broadcast Yourself, Hatton Gallery Newcastle) used technologies such as videophones and streaming media to create channels for artistic broadcasting. Now, the immense popularity of user-generated audio and video online networks, such as MySpace and YouTube, are creating a parallel universe of radio and television on the internet. We'll show how a new generation of student filmmakers are inhabiting and shaping these online spaces, in AV:IRAL, which will be screened online at our YouTube channel, and on site during the festival (The Design Centre, 5 March). Broadcasting is also on the move. Podcasting is enabling our favourite internet radio and television programmes to become mobile, downloaded to our media players. The mobile telephone companies who paid so dearly for a slice of the high-speed 3G network will soon begin to fulfill their promise to deliver audio and video services. Thus the landscape of broadcasting is changing irrevocably. Not only is there a clear need to debate the form of broadcasting in its second century, but also to reflect on the past century of radio and television. How did it originate? How has it changed our lives? For AV Festival 08, artists, filmmakers and musicians have created works which illuminate all aspects of broadcasting. Policy-makers, researchers and activists will discuss the switch off and speculate about the future of radio, television and the spectrum (The Television will Not be Revolutionised, 6-7 March & Community Radio Night, 4 March). Engineers, technologists and hobbyists will give hands-on workshops in transmission technology (Radio Craft Lab & Waygood's Radio Rally). Concerts and events will commemorate broadcasting accomplishments and celebrate a century of the airwaves (Variations VII, 29 February, Radiophonia, 1 March, and War of the Worlds, 5 March). At AV Festival 08, we will discover that ever since the first experiments in wireless transmission by Nikola Tesla, broadcasting has been a mechanism to enact social change. The power of broadcasting to shape public behaviour was graphically portrayed in 1938, by dramatist, Orson Welles, in his now legendary adaptation of War of the Worlds. The broadcast blurred the factual format of newscasting, with a fictional story of alien invasion and sparked panic amongst radio listeners. We celebrate the 70th anniversary of this crucial moment in broadcasting history, with a new version of the radio play staged by acclaimed theatre director Joanna Read (Middlesbrough Town Hall, 5 March). Broadcasting continued to witness and transmit social history with images joining sound on the airwaves, as television became part of public life. AV Festival 08's screening programme TV at the Cinema brings television to the big screen, showcasing landmark programmes, such as Ken Loach's pioneering drama Cathy Come Home (Tyneside Cinema, 6 March), a graphic depiction of homelessness which inspired real policy change in 1960s Britain. Later political satire, such as the incendiary Brass Eye (Tyneside Cinema, 8 March), showed how television had become a platform to mock the political establishment. You can voice your own opinion about television, by voting for your favourite show online at our Alternative Top TV poll (www.avfestival.co.uk/toptv). The winning TV show will be shown at a gala screening (Tyneside Cinema, 7 March). As broadcasting became increasingly ubiquitous, it became not only a means of observing social reality, but also increasingly a mechanism to shape it. Harun Farocki's Videogram of a Revolution depicts the so-called television revolution in Romania in 1989, where broadcasting played a critical role in the fall of Ceau_escu regime. And politicians' ruthless manipulation of television is vividly brought to life in Brian Springer's Spin (both at Star and Shadow Cinema, 3 March). AV Festival 08 will also ask what role have artists played in shaping the trajectory of the airwaves, showing how they have experimented with elemental substance of broadcasting - electromagnetism, radio waves and resonant energy. These dark materials are evident in Yuko Mohri's work Bairdcast (Discovery Museum, Newcastle), which shows how the fabric of early television can be transformed into contemporary installation. In our conference Music & Machines VIII (Culture Lab, 29 February - 1 March), we will explore the origins of artistic experimentation with the airwaves showing how artists insisted on the radio spectrum as a new landscape. John Cage's philosophy of the radio spectrum as a part of the physical environment is borne out in his 1966 work Radio Happenings I-V, in which he remarked, "all [radio] is making audible something which you're already in. You are bathed in radio waves". Cage furthered his experimentation with radio and broadcast media in his major 1966 performance for the 9 Evening Theatre & technology series, Variations VII. We will stage the first major UK performance of Variations VII (AV Festival 08 opening gala, Baltic, 29 February), and The idea of radio as a pervasive medium, which surrounds us and moves through us, is made tangible in Joyce Hinterding's large-scale antenna work (Aeriology, Reg Vardy Gallery, Sunderland), which makes audible the very low radio frequencies which resonate continuously throughout space. Slovenian artist Marko Peljhan has been creating works that make the radio landscape perceptible for many years. The latest of these is Scatter!, a large-scale outdoor durational performance (AV Festival closing gala, Baltic Square, 8 March) which will audio-visually map the radio sky in real time. José Luis de Vicente & Irma Vilà's Atlas of Electromagnetic Space (Institute for Digital Innovation, Middlesbrough) also maps the inscrutable topography that is the electromagnetic spectrum, in this case through an interactive data visualisation. These and other artists at AV Festival 08, such as Tetsuo Kogawa the founder of miniFM in Japan (who will speak at Music & Machines and lead a workshop at the Radio Craft Lab), Resonance FM (who are in residence at mima, Middlesbrough), and German radio artist Knut Aufermann (who will lead AV Festival programming on NE1FM), all survey the broadcasting landscape, and indeed alter its topology with their projects. These artists - and your presence - will ensure AV Festival 08 becomes a catalyst for debate about the future state of broadcasting, and also a celebration of a century of on air and online transmission. Honor Harger Director, AV Festival 08 ___ AV Festival 08: programme The programme can be downloaded or viewed online: http://www.avfestival.co.uk/programme New commissions & premieres include - A Marriage of Shadows - by Michael Edgerton (concert, world premiere) - Aeriology - by Joyce Hinterding (exhibition, UK Premiere) - Atlas of Electromagnetic Space - (installation, co-commission) - AV Festival on NE1FM - (radio station, commission) - Bairdcast: A History of Machine Translation - Yuko Mohri (exhibition, commission) - Broadcast Yourself - Various artists (exhibition, co-commission) - Deep Play - Harun Farocki (exhibition, UK Premiere) - Now Hear This - Marcus Coates, Zoe Irvine & People Like Us (outdoor sound works, commissions) - War of the Worlds - directed by Joanna Read (theatrical performance, commission) - Radiophonia - by Broadcast, Dick Mills, Jean-Jacques Perrey et al (concert, world Premiere) - Resonance FM at mima - (radio station, commission) - Scatter! - by Marko Peljhan (performance, commission) - Soundscape FM - (radio station, commission) - Variations VII - :zoviet*france, Atau Tanaka (performance, commission) - Waygood's Amateur Radio Rally - (event, co-commission) - Whispering in the Leaves - Chris Watson (installation & performance, co-commission) Performances by: - :zoviet*france: & Atau Tanaka - in Variations VII - 29 February - Ars Nova Ensemble - in A Marriage of Shadows by Michael Edgerton - 3 March - Autechre, with SND & Rob Hall - 2 March - AV:ISIONs Club & lounge nights - various dates - Broadcast, Brian Duffy, Dick Mills, Jean-Jacques Perrey & Dana Countryman - in Radiophonia - 1 March - Chris Watson - 6 March - Disinformation & Strange Attractor - in National Grid - 5 March - Long Range (Phil Hartnoll & Nick Smith) - - 29 February - Mx (Marko Peljhan), Brian Springer, Nullo (Aljo_a Abrahamsberg) & Delray (Matthew Biederman) - in Scatter! - 8 March - Staalplaat Soundsystem - 29 February - Tao G. Vrhovec Sambolec - 1 March Exhibitions include: - Aeriology - Joyce Hinterding - Atlas of Electromagnetic Space - José Luis de Vicente, Irma Vilà & Bestiario - Bairdcast: A History of Machine Translation - Yuko Mohri - Broadcast Yourself - Various artists - Deep Play - Harun Farocki - For You, Only You - Sonia Boyce - Now Hear This - Marcus Coates, Zoe Irvine & People Like Us - Prepared Radios - Ryota Kuwakubo - Slow TV - Various artists - Variations VII documentation - John Cage & Experiments in Art & Technology - Whispering in the Leaves - Chris Watson - Yokomono - Staalplaat Soundsystem Conferences, talks & seminars include: - Artists' Talks by José Luis de Vicente & Irma Vilà, Chris Watson, Jean-Jacques-Perrey, Yuko Mohri & others - various dates - At the Top of the Game: Jimmy McGovern - a talk by the celebrated television writer - 4 March - BBC Radiophonic Workshop - a talk at Radiophonia by Dick Mills - 1 March - Broadcast Yourself in person & on-screen - a seminar & screening event featuring Sarah Cook, Kathy Rae Huffman, Shaina Anand, Karel Dudasek, Active Ingredient & Maria Pallier - 2 March - Desert Island TV - a very special event featuring a leading light of British Broadcasting - 2 March - Music & Machines VIII - AV Festival 08 conference on broadcasting & art featuring Atau Tanaka, Douglas Kahn, Brandan Labelle, Heidi Grundmann and others - 29 February - 1 March - Northern Screenwriters Conference 2008 - a conference for screenwriters - 4 - 5 March - The Television Will Not Be Revolutionised - a 2-day debate on broadcasting featuring Bill Thompson and others - 6 - 7 March Screening include: - Works for Television, short films curated by Gary Thomas including works by Matt Hulse, Clio Barnard, Andrew Kotting, Patrick Keiller, Paul Bush, Thomson & Craighead, Judith Goddard, Stuart Hilton, Semiconductor, Mike Stubbs & others) - AV:IRAL, the AV Festival 08 student short film programme - TV at the Cinema - a retrospective screening programme of television, including Abigail's Party (Mike Leigh, BBC, UK, 1977, 120 mins), Boys from the Blackstuff (Alan Bleasedale, BBC, UK, 1980-82, 50mins), Brass Eye (Chris Morris, Channel 4, UK, 1997-2001, 25mins), Cathy Come Home (Ken Loach, BBC, UK, 1966, 100 mins), Death of a President (Gabriel Range, Channel 4, UK, 2006, 93 mins), Digital Stadium (Japanese TV show, NHK) , Dr Who & The Daleks (Gordon Flemyng, UK, 1965, 82 mins), Dr Who Special (BBC, UK, 2005-7, 45 mins), Fawlty Towers (BBC, UK, 1975-79, 30 mins), Life on Mars (BBC, UK, 2006-7, 60 mins), Not the Nine O'Clock News (John Lloyd, BBC, UK, 1979-1982, 25mins), Radio Favela (Helvecio Ratton, Brazil, 2002, 92 mins), Scattered Frequencies (Micz Flor & Philip Scheffner, Germany, 2002, 31 mins), Spin (Brian Springer, USA, 1995, 57 mins), Shooting the Past (Stephen Poliakoff, BBC, UK, 1999, 182 min), The Life of Birds (David Attenborough, BBC, UK, 1998, 50 mins), The Prisoner (Patrick McGoohan & George Markstei, ITV, UK, 1967-8, 50mins), The Sweeney (Ian Kennedy Martin, ITV, UK, 1975-78, 60 mins), The War Game (Peter Watkins, BBC, UK, 1965, 48 mins) and Videogramme einer Revolution (Harun Farocki & Andrei Ujica, 1992, 106 mins). Workshops include: - Anatomy of a Television Programme - TV workshop for students & adults - Documenting New Media Art- workshop for professionals, lead by Caitlin Jones - Introduction to Writing for Television - a 10 week course lead by Julie Blackey - Media Routes workshops in animation & radio - workshops for 13 - 19 years olds - Radiophonia workshop - electronic music workshop lead by Brian Duffy - Radio Craft Lab - a 5 day workshop for artists lead by Tetsuo Kogawa, Raitis Smits, Joyce Hinterding & others - Thinking Outside the Goggle Box - a 10 week course lead by Ben Dickenson - Write Your Own Radio Play - an intensive 2 day workshop for 13 - 19 years olds Radio stations: - AV Festival on NE1FM - Knut Aufermann & friends broadcast on Tyneside on 102.5FM - Resonance FM at mima - the UK's only art radio station broadcasts from Middlesbrough - Soundscape FM - Sunderland's audio art gallery of the air - Waygood's Amateur Radio Rally - ham radio enthusiasts meet at Grainger Market in Newcastle Download the full programme online: http://www.avfestival.co.uk/programme ___AV Festival 08: tickets http://www.avfestival.co.uk/tickets Tickets to all AV Festival events are on sale from the AV Festival Box Office at the Tyneside Cinema. Phone: +44 191 232 8289 Email: bookings(a)avfestival.co.uk ** Tickets are already selling out for major events such as Variations VII, so book now if you wish to attend ** ___AV Festival 08: organisation http://www.avfestival.co.uk/about AV Festival 08 is organised by Audio Visual Arts North East and forms part of NewcastleGateshead's world-class festivals and events programme managed by culture10, based at NewcastleGateshead Initiative. ___AV Festival 08: supporters http://www.avfestival.co.uk/supporters Arts Council England, North East, Newcastle City Council, Gateshead Council, ONE NorthEast, Middlesbrough Council, Sunderland City Council, Tyneside Cinema, Northern Film & Media, UK Film Council, European Regional Development Fund, V. Event Supporters: Anime projects, Castle Keep, Digista, The Leverhulme Trust, MAP, Media Routes, Ormiston Wires, PRS Foundation, Triple Echo. AV has developed close working relationships with some of the region's key cultural organisations. Our partners include alt.gallery, BALTIC, Centre for LIFE, Centre for Excellence In Teaching and Learning Music and Inclusivity (Newcastle University), Cineworld, Cornerhouse, CRUMB, CultureLab (Newcastle University), Design Centre (University of Sunderland), Discovery Museum, forma, IDI (University of Teesside), ISIS, Locus+, mima, Media Centre (University of Sunderland), Mobile Cinema, National Glass Centre, Northern Gallery for Contemporary Art, NE1 FM, No-Fi, NOVAK, Northern Screenwriters Conference, Reg Vardy Gallery, Resonance FM, /slab, Star & Shadow Cinema, Sunderland Museum & Winter Gardens, The Hatton Gallery, The Sage Gateshead, Tyne & Wear Museums, Waygood, Multistorey, White Hot Communications, Velcrobelly & Evolve. ___AV Festival 08: contacts For more information contact: AV Festival c/o Tyneside Cinema at Gateshead Old Town Hall West Street Gateshead NE8 1HE UK Tel: +44 (0)191 2328289, ext 112 Email: info(a)avfestival.co.uk http://www.avfestival.co.uk/ The AV Festival is run by Audio Visual Arts North East. A Company Limited by Guarantee. Registered in England No 06141603. Registered Charity Number 1120368. Registered Office: c/- Tyneside Cinema at the Old Town Hall, Gateshead, West Street, Gateshead, NE8 1HE, UK


text:
Time-Lapse Twitter Visualization Shows America's Moods [VIDEO]
A group of researchers from Northeastern University and Harvard University have gathered enough data from Twitter to give us all a snapshot of how we Americans feel throughout a typical day or week. [via mashable]
Not only did they analyze the sentiments we collectively expressed in 300 million tweets over three years against a scholarly word list; these researchers also mashed up that data with information from the U.S. Census Bureau, the Google Maps API and more. What they ended up with was a fascinating visualization showing the pulse of our nation, our very moods as they fluctuate over time.
The researchers have put this information into density-preserving cartograms, maps that take the volume of tweets into account when representing the land area. In other words, in areas where there are more tweets, those spots on the map will appear larger than they do in real life.
It will surprise almost no one to learn that findings indicate a general mood slump mid-day and mid-week, when we are most likely to be at work. Our tweets show that we're happiest in the early morning and late evening; during the week, our mood tends to peak on Sunday morning.
Less predictable, perhaps, is the fact that West Coast tweets were "happier" than tweets from the East Coast. Although West Coast Twitter users expressed emotions in the same cycles as the East Coast users (with a three-hour gap, of course, because of time zone differences), the West Coasters didn't dip as low in mood as the East Coasters by a significant margin.
For the inforgraphic fans among you, here's a lovely PDF showing some of the data displayed:
And here's a cool video showing the American Twitter mood expressions changing over the course of a day:
We're pretty fascinated by visualizations like these; what other data or topics would you like to see these researchers tackle next? What use do you think we could get out of the current information they've generated?
Did you like this post? Leave your comments below!Found this Post interesting? Receive new posts via RSS (What is RSS?) or Subscribe to CR by Email


text:
Google Music page points to Android Market music sales
We've been hearing that Google will begin selling music directly for months, and it looks like it's about to finally come to pass. But don't take our word for it: head over to music.google.com with your Android device (make sure you've got your user agent set to default) and you'll see something similar to the screenshot on the right. The page mentions "millions of songs in the Android Market", though both links appear to be inactive at the time of writing.
Google already sells books and movie rentals in the Android Market, highlighted by the latest radical UI shift in the Market app. The Google Music Beta app (not to be confused with the default android Music app) ties in with Google Music to stream music to phones and tablets, but unlike the Amazon Cloud Player, you can't purchase music and stream it from Google's servers – yet. Andy Rubin, Google's Android head honcho, confirmed Google's plans at the AsiaD conference. Rubin hinted that there would be something more than a standard music store – that it would "have Google in it".
The music industry is notoriously hard to deal with when it comes to licensing and deals, so it'd no surprise that even the economic muscle of Google and the wide reach of Android haven't easily swayed the record companies. But if Google is already deploying resources, the launch can't be that far away. Who's ready to see Android go head-to-head with iTunes and Amazon?
[via Phandroid]
Android-Market


text:
"Time is the most valuable thing a man can spend."
Theophrastus (c. 371 – c. 287 BC) a Greek native of Eresos in Lesbos, was the successor of Aristotle in the Peripatetic school.
"People find life entirely too time-consuming."
Stanislaw Jerzy Lec (6 March 1909 – 7 May 1966) (born Baron Stanislaw Jerzy de Tusch-Letz) was a poet and aphorist of Polish and Jewish noble origin. Often mentioned among the greatest writers of post-WW2 Poland, he was one of the most influential aphorists on the 20th century, known for lyrical poetry and sceptical philosophical-moral aphorisms, often with a political subtext.
"Half our time is spent trying to find something to do with the time we have rushed through life trying to save."
William Penn Adair "Will" Rogers (November 4, 1879 – August 15, 1935) was an American cowboy, comedian, humorist, social commentator, vaudeville performer and actor and one of the best-known celebrities in the 1920s and 1930s.
"You have to allow a certain amount of time in which you are doing nothing in order to have things occur to you, to let your mind think."
Mortimer Jerome Adler (December 28, 1902 – June 28, 2001) was an American philosopher, educator, and popular author.
"I cannot afford to waste my time making money."
Jean Louis Rodolphe Agassiz (May 28, 1807 – December 14, 1873) was a Biologist, Paleontologist, Glaciologist and a prominent innovator in the study of the Earth's natural history.
"The man who views the world at 50 the same as he did at 20 wasted 30 years of his life."
Muhammad Ali, born Cassius Marcellus Clay, Jr. (January 17, 1942) is a former American boxer and three-time World Heavyweight Champion, who is widely considered one of the greatest heavyweight championship boxers of all time.
"He that will not apply new remedies must expect new evils for time is the greatest innovator."
Francis Bacon, 1st Viscount Saint Alban (22 January 1561 – 9 April 1626) was an English philosopher, statesman, scientist, lawyer, jurist and author. He famously died of pneumonia contracted while studying the effects of freezing on the preservation of meat.
"Life is not lost by dying, life is lost minute by minute, day by dragging day, in all the thousand small unscaring ways."
Stephen Vincent Benét (July 22, 1898 – March 13, 1943) was an American author, poet, short story writer, and novelist.
"Being rich is having money, being wealthy is having time."
Margaret Wander Bonanno ((born 1950 as Margaret Wander) is an American science fiction writer, ghost writer and small press publisher.
"Don't say you don't have enough time. You have exactly the same number of hours per day that were given to Helen Keller, Pasteur, Michelangelo, Mother Teressa, Leonardo da Vinci, Thomas Jefferson and Albert Einstein."
H. Jackson Brown, Jr. (-) is an American author best-known for his book Life's Little Instruction Book, which was a New York Times bestseller.


text:
June date pencilled in for cancelled Irish University Championships
Wet and windy conditions led to the cancellation of Lough Rinn Regatta for the second year in a row
Thu, Apr 18, 2019, 20:45 Updated: Thu, Apr 18, 2019, 20:46
Experienced coaches have been questioning whether big lake regattas are suitable for those below junior 16 level
The Irish University Championships were cancelled after just three events last weekend, but a new date has been pencilled in, and it looks like the remaining 21 championship events will be held. The date of June 9th has been agreed.
The original venue of Lough Rinn is free, though some participants wish to switch to the National Rowing Centre in Cork. It is understood that this is also free on the date. The chair of the domestic events committee, Brenda Ewing, says she will discuss the arrangements with those involved.
Lough Rinn is a stunning course, with the huge advantage of being owned by the municipal authority Leitrim County Council. A disruptive, gusting wind swept across it on Saturday. Sunday was cold, wet and windy, and this led to the cancellation of Lough Rinn Regatta for the second year in a row.
Most unusually, this venue does not have a club or set of rowers who are based there regularly. When and if this happens the on-site rowers and coaches could interpret a weather forecast during the week, and say with confidence if conditions would be fine, if some rowing was possible or if wind would make the course impossible.
Communication at the venue also needs to improve. A good start would be a board with regularly updated results and announcements, and a public address – perhaps further out towards the start – which can be heard by all even when there is a wind blowing down the course.
Experienced coaches have been questioning whether the big lake regattas are suitable for those below junior 16 level. Perhaps younger rowers competing in Ireland should row at river regattas, at least while the season does not include much of July and the whole of August.
The weather has not been kind to rowing in recent years. Last year, 2018, had a spectacular summer yet most of the lake regattas had to be cancelled. The president of Rowing Ireland, Eamonn Colclough, told The Irish Times there would be a workshop on the issues this September with event organisers and club representatives.
The honour of the first Grand League event of the year now falls to Skibbereen at the NRC on May 4th and May 5th.
The weather has been less of a concern for the Ireland squad who have been based in Varese, Italy. On-the-water conditions have been good. Gary O'Donovan, Denise Walsh and Aoife Casey joined the camp on Monday after the Memorial Paolo d'Aloja regatta, where the Ireland team had generally good results.
Plans for a new pedestrian bridge across the Liffey at Islandbridge are well in train. It will run from east of UCD Boat Club to Memorial Park on the southside of the river.
Aoife Casey
Brenda Ewing
Denise Walsh
Eamonn Colclough
Gary O Donovan
Paolo D Aloja
Domestic Events Committee
Irish University Championships
National Rowing Centre
Lough Rinn
Grand League
Sam Bennett stays ahead of the pack in Turkey
Loreto and UCD turn attention to European competition
Light winds in Genoa leave Annalise Murphy chasing the pack
Ultra marathons make Paddy O'Leary right at home in the wild
Irish amateur boxer provides sole Irish positive doping test of 2018
Ireland takes part in European research project on vulnerable migratory fish
Jarrell Miller denied licence for fight against Anthony Joshua
Jimmy White and Ken Doherty fall short in bid to return to the Crucible
Boston Marathon: Should transgender runners be allowed 'self-identify'?
Katie Taylor to fight for undisputed world crown on June 1st


Kids eat free at Armani hotel Dubai this summer!
Over the hot summer months, the Armani Hotel Dubai, based in the Burj Khalifa has a fantastic deal running at all four of the hotel's restaurants.
All children under the age of ten-years-old can eat for free when dining with an accompanying adult. The offer is available from Sunday 1st July until Friday 31st August 2018.
To take part in the offer, simply book a table at one of the restaurants below, and all children under ten that dine with you will get a complimentary meal.
This classic Italian restaurant serves up sophisticated a la carte dishes with views of the Burj Khalifa Fountains.
Can your little ones handle spice? If so, head down to the hotel's popular Indian restaurant, serving up tasty tandoors, biryanis and more.
This delightful restaurant serves flavours from the Levant to the Mediterranean shores. Expect delicious fish options and hot and cold mezze.
Influenced by Italian market flavours, this restaurant menu is packed full of gourmet cheese, fresh pasta dishes and pastries.
Details: Opening times vary, the deal is available from Sunday 1st July to Friday 31st August. For more information, visit Armani Hotel Dubai or call 04 888 3666. If you enjoyed this article, you may like this story on claiming your free birthday breakfast at Sophie's Cafe Dubai.


text:
"Standards and norms" needed in space, Pentagon experts say
by Phillip Swarts November 18, 2016 January 23, 2023
Winston Beauchamp, the deputy under secretary of the Air Force for space, talks with SpaceNews about the issues the Defense Department is studying this summer as part of the Space Portfolio Review, what the Pentagon has learned from a new joint space operations center with the intelligence community and the role of hosted payloads. Credit: SpaceNews video still
WASHINGTON — The international community needs to establish expected patterns of behavior in space, despite ongoing worldwide political tension, top Pentagon space experts said.
"There is an erosion of some of the commonly accepted standards and norms, and there's concern about that as folks around the world have tried to find advantage, find seams," said Winston Beauchamp, the deputy undersecretary of the Air Force for space. "That's part of the reason why we want to codify our norms and behavior in space because it is such an important domain, not just for us but for humanity."
Speaking at a Nov. 17 summit hosted by the Defense One website, Beauchamp said that the danger of collision and debris in orbit means that nations must work together to avoid those risks, even if they have somewhat tense relations – such as between the U.S. and Russia or U.S. and China.
"We need to be able to operate in space both to advance our state of technology and eventually get the human race off this planet onto another planet," he said. "We can't do that if we have to try to fly through a shell of debris."
Rear Adm. Brian Brown, head of the Navy Space Cadre, said that norms often develop overtime, and that the U.S. is leading on developing them.
"Much like the maritime laws that we have, they established over time by safe and responsible behaviors and patterns of life," he said. "That is something we are pushing for in a lot of different areas, so we don't have miscalculations in space."
Because of the long-lasting effects that could come from destroyed satellites and the resulting debris, the U.S. military is taking a defensive mindset, said Brown, the deputy commander for the Joint Functional Component Command for Space at U.S. Strategic Command.
"Everything is about not having a war extend to space," he said.
Even in peacetime, to avoid collisions the U.S. is warning satellite companies and other nations when there's a risk of collision, Brown said.
"There are norms and behaviors that are already out there that the U.S. is leading on," he said. "If you look at basic safety of flight things that we do today, there are specific standards for low Earth orbit and geosynchronous orbit where we provide conjunction warnings if two satellites ,or a satellite and a piece of debris, come within proximity."
Were another nation to attack U.S. assets in space, Beauchamp said the Pentagon wouldn't automatically respond in kind.
"It's important to note that if something were to happen in space, our response wouldn't necessarily be in space," he said. "If someone were to do something, we would respond in a time and place of our choosing, primarily because we wouldn't expect something to happen in space in isolation. It would be an extension of some conflict that would be occurring terrestrially."
Tagged: Adm. Brian Brown, Military Space, Missions, Space Threats, Winston Beauchamp
Phillip Swarts
Phillip Swarts is the military space reporter for SpaceNews. He previously covered space and advanced technology for Air Force Times, the Justice Department for The Washington Times, and investigative... More by Phillip Swarts


Hi im a travel PT looking for somewhere to stay that will allow my dog to be with me. She is a mal shi (10lbs) house broken, well behaved and playful. My assignment begins April 1st so Im looking for march 31st-june 26. I look forward to hearing from you!


At the Al Bahr Mount Laguna Shrine Camp, all but about a dozen of the 116 cabins and other structures were left standing.
A federal judge has ruled the Al Bahr Shriners of San Diego are barred from recovering most damages from the U.S. government relating to the destruction of their summer camp in the Laguna mountains in 2013.
The Shriners lost virtually everything in their camp on July 9, 2013, when the Chariot fire rose from the desert floor and burned across Sunrise Highway in the Cleveland National Forest. The 7,000-acre fire destroyed the nearly century-old Al Bahr Shriners Camp. The 87-year-old lodge, a dining hall, a caretaker cabin, two dormitories and five rental cabins burned, as did more than 100 small cabins that were privately owed by Shriners. Several other structures outside the camp were also either partially burned or destroyed.
The fire had started three days earlier in the desert when, according to state investigators, a Bureau of Land Management law enforcement officer's Jeep Wrangler accumulated brush beneath its carriage. The brush made contact with the Jeep's catalytic converter and caught on fire. As the brush burned, it destroyed a fuel line and as the jeep drove around the desert small spot fires began. Those fires eventually burned together, creating the Chariot fire.
The lawsuit — which is seeking $20 million in damages, is still ongoing and has other defendants that include the makers of the Jeep — argued that because it was a federal employee who started the fire, the government, under state law, should be on the hook for the damages at the camp.
However U.S. District Judge Anthony J. Battaglia ruled last week that federal law, not state law, applies. The ruling concludes that the Shriners had operated their camp since the 1920s under a series of Special Use Permits granted by the Cleveland National Forest. One of the conditions of the permits is that the Shriners would be responsible for all damages the camp might sustain for any reason.
"The practical effect of the Term Special Use Permits is that the United States agreed to allow Plaintiffs to use public land for their private recreational use in exchange for Plaintiffs assuming all risk of loss to the structures they chose to place in the Cleveland National Forest," the U.S. Attorney's Office argued in court papers.
Lawyers for the Shriners tried to argue that the special permits were with the forest service and unconnected to the Bureau of Land Management, but the judge said both are part of the U.S. government.
Since the 2013 blaze, the camp has remained mostly vacant and gated. A forest spokeswoman said negotiations between the Shriners and the service are ongoing about a new permit, but there has been little movement in that direction in the past year.
The judge's decision does not cover damages suffered by individual Shriners who lost personal property in the fire, but appears to exclude the federal government from being responsible for the loss of almost all of the 150 buildings that burned because they were all built under the terms of the special permits.
Kristen Barton, one of the attorneys representing the Shriners, said what qualifies as personal property will be determined during further litigation.
The Cleveland National Forest was created in 1908.
A spokeswoman for the U.S. Attorney's Office said it cannot comment because the lawsuit, and nearly a dozen others related to the fires brought by insurance companies trying to recoup losses, are still active.