When writing my stories and sharing adventures I like to keep it real. If you've read previous posts of mine and you've seen the pics I've shared, I have not always looked my cutest. It's not that I don't wanna look cute, I'm a woman, it's just that it's hard to look cute when your outfit is covered in dead bugs and you're rocking the helmet hair. As I've added years my appearance has changed and it's something I've learned to love about myself. Every line on my face tells a story, those stretch marks are a testament to the body that carried my children, and the extra pounds – well maybe I don't love them quite as much, but I'm not loosing any sleep over it. I'm comfortable in my skin & it is my sincere desire that every woman feel that same level of comfort. Society is kinda obsessed with appearances & women's bodies are used as marketing tools all the time. Women are more than just eye candy. Us gals have plenty to offer the motorcycle community besides swimsuit pics. I'm not hating on the bike models, if ya got it, flaunt it (within reason ladies, lol). There once existed a time I flaunted it a little at the hubster's request. That girl was a little younger, a little lighter, and a little new to motorcycling. The woman today appreciates so much more about the art of motorcycling and has come to love this hobby for many other reasons besides just looking cute while going fast. Side note, the girl of my youth appreciated equality among the sexes as much as the woman today. Like that saying goes, "What's good for the goose is good for the gander." It's nice to have a talented photog friend that helped in subjecting the gander (hubster) to a request of my own. I miss that Victory Hammer! It was a beautiful muscle cruiser. On it's own that Bike was eye candy. The Victory had a solid V-twin & showcased a beautiful example of an American muscle cruiser. I don't miss it in the corners however. With a wide back tire that looked so good, turning that bad boy was like wrestling a pig 🐷. The hubster sure was pretty sitting on it though! Another example of some motorcycle eye candy was a previous bike I owned. The younger me rode a Suzuki GSXR 600. She was named Black Betty but I now refer to her as the Pink demon. She got me in so much trouble! I lost my license for a year due to that bike. I wasn't even trying to speed. I was only in 4th gear and I was pulled over for doing 107 in a 55mph zone. It was hot outside, I saw the exit for home, and with a twist of the wrist my fate was sealed. The officer that pulled me over was ticked b/c I guess he'd been chasing some other sport bikes that day. Other cops stopped to survey the scene, not sure why except that they were curious about the pink flames, it's not like little ole me posed a threat. I remember the ticketing officer smiling while holding up his radar gun like a trophy buck he'd just taken down as the other officers looked and laughed. The officers were nice but I wasn't laughing. I asked the cop why he tagged me with the radar if he'd been after the other (faster) bikes and his response was, "Honestly, because that pink helmet was an easy target for my radar." I purchased a black helmet the very next week.
That's you in that pic?
Grape Ape…my hubs has Hulk Smash hands!!! 😂😂😂 i fondly call him my caveman or Fred Flintstone!
Haha! I'd really love to see more female riding gear options. I'm looking for adventure boots and I'm probably going to wind up with guy's boots b/c there are more options.


Home › Articles › Healthy Cooking – Your Best Bet To Keep Heart In Good Shape!
Depending on whom you talk to heart healthy cooking can mean many different things. Like many things in life, everyone has a different opinion regarding most things. Food is not different. There are meat lovers, vegetarians, people who fast regularly, and even fruitarians (people who only eat fruit products). Each of these people believes that their way of preparing food is the very best heart healthy cooking way to eat. This is when you must make your own decision based off what you learned and what feels right to you.
When you make a spaghetti dinner dish, choose tomato based sauces versus cream based sauces. Cream based sauces tend to have more fat and oils while tomato based sauces tend to be let fattening choices. Or why not make a wonderful vegetable soup dish? You can add whatever you want, make it as flavorful as possible and yet create a heart healthy cooking dish that you will love! Add spices, add pepper. Be as creative as you want to be. Why not use salsa as fish marinade? It is healthy, simple, flavorful, and will be good to your heart!


"The game is played a lot faster and better," she said. "But I want to play against the best competition I can."
No matter who the competition is, Diggs has looked good, being routinely the main scoring option for a young Huskies team that started off the season 7-3 (2-1 in the I-Meck Conference) with wins over North Mecklenburg, Olympic and Providence already.
Hough girls' basketball coach Sonja Tate, who also had the task of starting the Ardrey Kell girls' basketball program when the south Charlotte school opened in 2006, hasn't been surprised with her team's hot start.
"Any time you coach a team, I think it is only natural to have high expectations," she said. "I liked what I saw when I first got together with the team this summer. I think we have started out really strong, but we are still a work in progress and still have a long way to go."
Tate said, like her team, Diggs has shown a lot of promise yet still has a lot of room for improvement.
Diggs couldn't have a better coach to help her get better, as Tate played college basketball at Arkansas State before going onto the WNBA for two seasons with the Minnesota Lynx.
Like Diggs, Tate played point guard and shooting guard at the collegiate and professional levels.
"Playing for coach has been a great thing for me," said Diggs. "She understands what we're going through because she has done it herself. I think there is a lot she can teach me about the game."
Tate says Diggs' biggest strength to this point is her knowledge of the game and her outside shooting. Now, Tate hopes to help her round out her game.
"(Diggs) is off to a phenomenal start," said Tate.
"But I think she can be an even better player and a more complete playmaker, where she not only makes herself better, but also her teammates."
Diggs, who had 25 points against Lake Norman Charter and 22 points against Anson Senior, knows she will need to expand her game to become a better basketball player.
She gets to do that with a young team that includes five freshman, three sophomores and two juniors.
Diggs, fellow freshman Olivia Demarcus, Julia Brown and Kelsey Dean as well as sophomore Brandi Arey, are among the core players for the Huskies who have played together for several years on the Lake Norman Magic AAU team.
That chemistry has allowed Diggs and company to progress faster than most first-year teams.
But with success comes dealing with more attention from your opponents and Diggs is beginning to see coaches plan defensively against her because of her reputation.
"Teams are already starting to focus on her," said Tate. "Now, she has to adjust and learn to play through it and make plays for herself and her teammates."
Diggs and Tate have gone through some "tough love" in the coach's attempt to help her player move from shooting guard, her natural position, to point guard.
Along the way, the quiet Diggs has become one of the team's vocal leaders even though she's only a freshman.
"We are all in our first year at Hough, so what class you're in really doesn't matter," said Tate.
"Anna is becoming a better leader and player with every game. With time, I think she is going to become one of the better players around."


DriveNow can help you save on car hire at Dunedin Airport with amazing listings of vehicles from dependable rental companies, all of which you can compare online for free!
The South Island of New Zealand features some of the country's greatest locations and attractions, several of which are located down toward the bottom of the land mass. DriveNow's car hire at Dunedin Airport gives you the power to easily navigate this part of the world so you can take the road trip of your dreams on your own schedule.
Just how do we provide such amazing rental cars at Dunedin Airport? By partnering with some of the biggest, best and most trusted hire vehicle brands in the world. We've been providing excellent rental car options to travellers since 2003. In that time, we've built strong relationships with Hertz, Europcar, Thrifty, Hertz and Keddy and other major suppliers around the world. This means we're able to populate our listings with great makes and models. Just sort by the features most important to you to compare the different offerings and book your car for pickup upon landing. All it takes is a few clicks for your Dunedin Airport car rental to be taken care of.
And you'll sure be glad it is once you realise how many options open up to you with a set of keys in New Zealand. Dunedin's location makes it the perfect place from which to embark on a road trip around the South Island. But before taking off, make sure you check out the fantastic eco-tour options and Victorian architecture and stroll the Dunedin Street Art Trail. Then plan your course however you'd like. Heading down along the coast, you can work your way around the Southern Scenic Route toward the Catlins. This area features amazing coastline, lakes, waterfalls and stunning forests. Then you can continue on to Invercargill, the capital of the Southland region.
A rental car from Dunedin Airport lets you plan out any route you desire. If you're not interested in the Southern Scenic Route, head west to Queenstown and experience bungee jumping and great skiing in one of the adventure capitals of the world. Or you can just take off for the north, hugging the east coast and stopping in Christchurch before moving on to Picton where you can drop off your car before catching the Inter-Island ferry to Wellington. The South Island opens up to you when you have the keys to a reliable rental vehicle.
Why use DriveNow for car hire at Dunedin Airport?
No Upfront payment No deposit or credit card is required when booking in most instances—pay on pick-up.
If you're planning on making some memories with an incredible road trip through the South Island of New Zealand, one of your first steps should be to look into car rental at Dunedin Airport from DriveNow. Compare our amazing options today and get ready to roll.
Here are some examples of how much our customers have been able to save in Dunedin Airport.
The post Dunedin: Hit the road and find the best eats appeared first on DriveNow Blog.
The post Driving through New Zealand's south island appeared first on DriveNow Blog.


text:
package com.mrbjoern.fitness.domain.user;

public enum Role {
    ROLE_USER("ROLE_USER"),
    ROLE_SUPERUSER("ROLE_SUPERUSER"),
    ROLE_ADMIN("ROLE_ADMIN");

    private String role;

    Role(String role) {
        this.role = role;
    }

    public String getRole() {
        return role;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Q: Passing jQuery value using Ajax to a page template I have the following jQuery code:-
jQuery('.fancymember').on('click', function() {
    var member = jQuery(this).parent('div').parent('div').find('.test').val();
    var dataString = 'member='+ member;
    jQuery.ajax({
      type: "POST",
      url: "http://website.dev/wp-content/themes/website/template-about.php",
      data: dataString,
      dataType: 'text',
      success:function(event){
      //    alert(member);
            jQuery('#test2').val(member);
      }
    });

});

I want to pass the value 'member' to use in a Wordpress page template, I am trying to retrieve the value as follows:-
<?php $testing = $_POST['member']; ?>

But when I do:-
<?php var_dump($testing); ?>

$testing is NULL, any ideas what I am doing wrong?
I've tried to pass it to the page name as well but that didn't work (url: "get-to-know-us",)
Okay just checked in firebug console and I get the following error:-

Fatal error:  Call to undefined function get_header() in /Applications/AMPPS/www/distinct.dev
/wp-content/themes/distinct/template-about.php on line 6
However, using url: "get-to-know-us", I can see it has posted the value:-
member  71
Source member=71
So I still don't understand why I can't display this in PHP?

redpajama_set_name: RedPajamaStackExchange


text:
The South Norfolk Railway was incorporated in 1886, to construct a railway from Simcoe, Ontario to Port Rowan, Ontario.

Summary
In 1887, the station was acquired by Grand Trunk Railway and was absorbed into their railway network.

Simcoe was already connected to the railway system by other railways. The South Norfolk Railway had intermediate stations at Vittoria, Walsh and Forestville. The proximity of Walsh's railway station to Young's Creek brought extra economical advantages to flour and lumber mills operating in the region. From a geographical perspective, Young's Creek originates about four kilometers northwest of the Walsh and passes through the village along with Vittoria before discharging into Lake Erie,  away in Port Ryerse. The level of industrialization that the South Norfolk Railway brought to Norfolk County would be impossible to replicate today because of the emphasis of railway services on established urban links instead of trying to expand to rural areas that desperately need railway travel.

A lawsuit was initiated in 1888 between the Port Rowan and Lake Shore Railway and the South Norfolk Railway.

The railway was eventually run by Canadian National Railway, which closed the line in 1965. Workers from the CNR would eventually remove the railroad tracks; thus reverting it to private property status.

References

Defunct Ontario railways
Grand Trunk Railway subsidiaries
Canadian National Railway subsidiaries
1886 establishments in Ontario
1965 disestablishments in Ontario
Rail transport in Norfolk County, Ontario
History of Norfolk County, Ontario
Canadian companies established in 1886
Standard gauge railways in Canada

redpajama_set_name: RedPajamaWikipedia


LEAP India Pvt Ltd, a Mumbai-based supply chain solutions company, has raised Rs 88.34 crore ($13 million) in its Series B round of funding from a clutch of new and existing investors, a financial daily reported on Friday.
A top executive of LEAP India told The Economic Times that the company has raised this round from IndiaNivesh Growth Fund, Sixth Sense and TCI Ventures. Existing investors, venture capital firm Mayfield Fund and Rishabh Mariwala, who manages Sharp Ventures—the family office of Marico founder and chairperson Harsh Mariwala—also participated in the round.
The company will use the funds to hire more professionals and develop its asset-pooling service.
Emails sent to the investors and LEAP India didn't elicit a response till the time of writing this article.
Founded in 2013 by Sunu Mathews, LEAP India provides returnable packaging and pooling of equipment such as wooden pallets, metal wire mesh, boxes and plastic containers. The company offers its services to Indian companies and MNCs in areas such as FMCG, consumer durables, beverages and auto.
LEAP India had also secured $3 million in a bridge round in May last year from Mayfield Fund and Rishabh Mariwala, as per VCCEdge, the financial data platform of VCCircle. The supply chain firm has raised $ 23 million in equity and debt funding so far.
The logistics and supply chain sector has witnessed several mid- to large-sized deals in the last one year. The largest transaction involved Singapore's distressed assets fund management firm SSG Capital Management Group investing Rs 580 crore ($87 million) to acquire a 40% stake in Future Supply Chain Solutions Ltd.
In June last year, Mumbai-based cold storage warehousing and transport solutions provider Schedulers Logistics India Pvt. Ltd raised Series B round of funding for expansion.


Author Sandi Lynn: IT'S LIVE!!
LOVE, LUST & A MILLIONAIRE IS LIVE!
Heart-warming love story. Beautifully written. I'm waiting for Liam's story next.
I agree, great story! Can't wait for Liam's story and to check in with Oliver, Deliliah and Sophie.


Stotland NE, Bodnar LM, Abrams B. Maternal Nutrition. In: Creasy RK, Resnik R, Iams JD, Lockwood CJ, Moore TR, Greene MF, eds. Creasy and Resnik's Maternal-Fetal Medicine: Principles and Practice. 7th ed. Philadelphia, PA: Elsevier Saunders; 2014:chap 10.


text:
Q: Inject dependency on both a registered type and a concrete object into a constructor with Unity I have a class MyClass with the following constructor:
public MyClass(IRepository repository, AnotherClass anObject) { ... }

The interface IRepository is registered at application startup with Unity 2 to be mapped to a concrete class:
IUnityContainer container = new UnityContainer();
container.RegisterType<IRepository, MyConcreteRepository>();

Now, the concrete instance of the second parameter of the constructor is always different depending on application context. So I cannot register AnotherClass to be a specific instance at startup nor does it make sense to let Unity create an object of that class with its default constructor which would happen if I call:
container.Resolve<MyClass>()

This resolves to new MyClass(new MyConcreteRepository(), new AnotherClass()).
What I am looking for, if I have some given concrete object anObject of type AnotherClass, is a way to tell Unity to resolve MyClass to
new MyClass(new MyConcreteRepository(), anObject)

without permanently registering the instance anObject in the container.
Is this possible and how?
Thank you for help in advance!

A: You could use a ParameterOverride:
var myClass = container.Resolve<MyClass>(new ParameterOverride("anObject", anObject));

In case it's not clear given the names used in the sample, this assigns the object anObject to the parameter named "anObject" in the MyClass constructor.


text:
How Do Flea & Tick Medications Work?
What's in Your Pet's Flea Medication?
There are a wide variety of flea and tick medications out there to keep pets free of pests; however, a vast majority of these medications utilize the same active ingredients to repel and kill insects. There are four ingredients in particular that stand out in their near-ubiquity: fipronil, s-methoprene, imidacloprid and permethrin.
Often, fipronil and s-methoprene are used in conjunction with one another; whereas, permethrin and imidacloprid provide an alternative pairing. Because of the contrasted use of a permethrin/imidacloprid pairing and a fipronil/s-methoprene pairing, we compare the four ingredients in a way that emphasizes this grouping.
Please note that toxicity information is included for your benefit, though products that utilize these ingredients do so in small amounts that are incapable of harming pets or humans when used as intended. The vast majority (+95%) of users do not experience side effects associated with these ingredients and, of those that do experience them, many do so due to improper usage such as the consumption of a topical product or the application of an inappropriately large dose.
What is Fipronil?
Fipronil is an insecticide that is used to control a wide variety of pests. It kills insects on contact by debilitating the organism's central nervous system until death. The chemical structure of fipronil is more likely to bind to the nerve endings of insects than other animals, making it ideal for use in pesticides. That being said, excessive amounts of fipronil can negatively influence humans and other creatures if exposed to the chemical in a particular way.
Though proper dosage is safe for most mammals, tests indicate that fipronil is toxic to fish and some invertebrates. It was also found to be very toxic to some birds, though other birds were almost completely unaffected. Though it is safe for topical application, it is important to handle fipronil with care.
Humans risk unsafe exposure to large amounts of fipronil through skin contact, contact to the eyes, inhalation or consumption. It's safe to expose pets to fipronil when a product is designed for application directly to the skin and when done in the prescribed dosage. It is important, however, for humans to wash their hands after applying the product, as their hands might have contacted the pesticide.
Direct short-term skin contact with fipronil can cause mild skin irritation; but, consuming fipronil can cause nausea and vomiting, dizziness and sweating, and headaches or seizures. The risk of exposure to fipronil also depends on the formula of any particular product; most medications only contain a small concentration of fipronil such that dangerous interaction is unlikely. Fipronil breaks down on soil within 125 days when exposed to sunlight and does not mix well with water, making it an environmentally friendly choice.
What is S-Methoprene?
Methoprene is a hormone that comes in two forms: r-methoprene and s-methoprene. S-methoprene is a growth regulator that acts as an important juvenile hormone in insects to prevent pupa and larva from developing into adults. While remaining in their juvenile form, the insects are unable to reproduce, breaking their life cycle. It is technically considered to be a biochemical pesticide since it does not directly kill insects with toxicity, but rather prevents them from maturing and reproducing.
Humans can suffer mild irritation if s-methoprene enters their system via the skin or lungs. However, it is known to be safe to a wide variety of animals unless a particularly large dose (10g/kg) is ingested. When s-methoprene enters the body it is broken down quickly and then excreted, though it can be stored in the body in very small amounts. Its toxicity in fish varies from mild to severe and it is non-toxic to birds.
Popular Products That Use Fipronil and S-Methoprene
One of the most popular medications that utilize these ingredients is Frontline Plus for cats and dogs, and FiproGuard from Sentry also includes both ingredients. EffiPro for Cats includes fipronil but does not contain s-methoprene.
What is Permethrin?
Permethrin is a pyrethroid, a synthetic organic compound, that functions as a neurotoxin in insects. The chemical works by keeping sodium channels open for extended periods of time. These channels normally open and close in rapid succession in order to send signals, so keeping them open for longer slows the nervous system to a halt in select organisms. Through a different mechanism, it can also be particularly harmful to cats and fish when ingested.
Cats cannot metabolize this synthetic pyrethroid, so it is important that they do not come into contact with pets that have been treated with the chemical. For topicals that contain permethrin such as K9 Advantix II, it is fine for your cat to come into contact with a treated dog 72 hours after the application. This being said, permethrin is minimally harmful to humans and dogs unless an excessively large amount is applied or ingested.
Humans and dogs can have adverse reactions to permethrin exposure if exposed to an extreme quantity. Dogs might act oddly, flip their paws, twitch, or roll around on the ground if exposed to a high dosage; however, the product is safe for topical application when used properly. People and dogs risk exposure via inhalation and ingestion; if ingested, permethrin can be especially harmful. Animals that ingest permethrin can suffer from seizures and muscle tremors.
Humans that have been exposed to permethrin might experience mild skin irritation or tingling. If ingested, people can suffer from vomiting, nausea, and pain in their throat and abdominal area. Inhalation might lead to irritation of the lungs and nose and can cause headaches, vomiting, and vertigo. Fish and other sea life are highly susceptible to permethrin; but, it is relatively non-toxic in birds.
What is Imidacloprid?
Imidacloprid is a neonicotinoid that functions as a neurotoxin. It acts on the insect's central nervous system by blocking a neural pathway, which causes a build-up of acetylcholine. Acetylcholine is a motor neurotransmitter used to control motion, so this build-up leads to paralysis and death in affected insects. Imidacloprid is made up of colorless crystals but has a mild, characteristic scent. Neonicotinoids are closely related to nicotine and were initially developed with the intention of creating a chemical with low risk for toxicity.
Though the product is safe for animals and humans when used topically, ingestion and inhalation of imidacloprid can be dangerous. In humans, ingestion and inhalation of large quantities of imidacloprid can lead to vomiting, diarrhea, muscle weakness, and even death. Other more common and milder side effects include disorientation, agitation and sweating. These effects are also seen in animals that ingest or inhale the product, so it is important that application is performed somewhere the animal cannot lick.
Though not much of the product is absorbed upon skin contact, when it is consumed or inhaled up to 92% of a dose can be absorbed. This is why it is critical to administer the medication correctly. Imidacloprid is toxic to fish and varies for birds depending on the species. It is also water soluble such that it dissolves in water.
Popular Products that use Permethrin and Imidacloprid
K9 Advantix II uses both imidacloprid and permethrin. Advantage II uses imidacloprid but not permethrin and Vectra contains permethrin but not imidacloprid.
Direct Comparison
There have been various studies done on the efficacy of medications that utilize fipronil and s-methoprene when compared to medications that contain permethrin and imidacloprid. One report cites that after a thirty-day trial, it was shown that permethrin and imidacloprid is the more effective combination with a statistically significant distinction occurring at the 28th day.
Both medications were intended to last the full 30 days; the efficacy rate of the fipronil and s-methoprene combination fell to 77.56%, whereas the efficacy of the permethrin and imidacloprid group remained 98.43% effective. The less effective solution being tested contained 10% fipronil and 12% s-methoprene; the other soluton was composed of 10% imidacloprid and 50% permethrin. It should be noted, though, that formulas with lower concentrations of each ingredient have showed the opposite result.
When the concentrations were set at 10% fipronil and 9% s-methoprene and the other medication at 8.8% imidacloprid and 44% permethrin, the fipronil/s-methoprene combination was found to be significantly more effective. There are a variety of medications for dogs, so it is important that you note the concentrations of these ingredients when comparing options for your pet.
Additionally, some medications utilize different combinations of these ingredients, which have no direct comparison to any of the aforementioned combinations provided by clinical trials. Effitix for Dogs, for example, contains both permethrin and fipronil. Though studies have determined it to be an effective treatment for sandflies in dogs, there are no studies that directly compare its efficacy to other formulations.
Lastly, it is essential to ensure that the formula you are using is the proper one for your particular dog. Products have different doses based on the weight of your pet and a stronger dose may be harmful to your pet. Consult your veterinarian before applying these medications to ensure that it's right and that you apply the dosage correctly. For more on the differences between the medications discussed in this article, check out the chart below.
sales@entirelypetspharmacy.com

redpajama_set_name: RedPajamaCommonCrawl


HANDD's team of experts are available to help implement your classification project smoothly and seamlessly. From Pre-Sales Advice & Proof of Concept through to Architectural Design, Pilot, Roll-out and support post Go-Live, our team is on hand 365 days a year, 24 hours a day, to help you. We'll find the right data classification solution for your business, and set it up so that you get the most from your investment.
With installations at more than 500 enterprises globally, we're used to working flexibly. We can help you limit downtime and minimise upheaval in the roll-out of your programme. With a team of consultants, system architects, account managers, project managers, trainers and support staff we'll carry you towards successful implementation. Our team has the expertise and resources to work with you at any stage or stage of your data classification project.
Whether you need to provide training on your policies, your products, or the legislation that you need to be compliant with, HANDD's team of specialist trainers are available. We'll design and deliver bespoke training packages that help you communicate the information and processes that your teams need to know in an impactful and memorable programme.


In the first part of this series of articles, I looked at why there is a need for efficient metadata operations management. While the use of DAM systems to hold digital assets has increased significantly over recent years, the quality of the cataloguing of many assets is becoming an increasingly critical issue that threatens to constrain the ROI that can be obtained from Digital Asset Management. In the remainder of the series, I will examine various operations management strategies and tactics that can employed to make this process more streamlined.
The metadata analysis carried out prior to implementation of a system may well have already identified classifications along these lines and they might already be present as options to choose from when cataloguing assets. If so, this can be used to help direct cataloguing effort more efficiently right away. If it has not been considered previously, it usually makes sense to start to define assets according to a classification method like the one above, but it may be unproductive to go back and try and retrospectively apply it to everything already ingested. As I will discuss in the follow-up articles, there are some automated methods you can use to take care of the worst of the drudge work.
These usually require immediate release; it is imperative that they are made available to asset users very soon after origination. The cataloguing requirements are more about getting assets into predictable classifications and tagging them with a small number of widely used and understood keywords (e.g. names of key people, events or products and services). Many news-related assets have limited long-term value after the period when they are released and the cataloguing requirements must reflect that (although some selected noteworthy assets may need to be retained for use, as described below).
Photos or videos of conferences, events, trade shows or external events which the organisation is heavily involved with.
These types of assets must be released by a strict deadline in order for them to be of maximum value, but there might be a longer period of time between asset origination and release than news related assets (in fact releasing earlier than planned may be undesirable). It is essential that these assets can be found and that they achieve prominence to reflect the emphasis the business places upon the subjects they represent. The cataloguing work, however, must not cause their release to be delayed or so arduous that the users uploading them decide not to bother doing it.
Although they have a longer shelf-life than news or topical assets, they will have a significance which potentially diminishes as new initiatives are launched to supersede them. As with news assets, some items may acquire a longer-term value and they may transition from one classification to another over time.
Artwork and promotional material for new product launches or seasonal marketing campaigns.
These are assets which have a longer usage period and the majority of employees in the organisation may need to get access to at some point (certainly anyone with a communications oriented oriented role). These are normally the most popular assets in terms of searches and downloads, as measured across the system's lifetime. They need to be catalogued more diligently than anything else as a result and should be carefully vetted prior to release.
Core assets need to be easily found using widely understood terms – both inside the organisation and potentially by external users who may be given access. Although the metadata must use brand-compliant terminology, synonyms might be employed to ensure that anyone searching using older descriptions or common spelling mistakes etc will still find relevant results even though they will not be used in metadata which is visible to regular users. Core assets may also be grouped into pre-defined collections and linked to from prominent locations to anticipate the higher demand for them. Over a period of time, many of the assets in this group will eventually be replaced and their role becomes more historical/archival in nature, but their popularity will extend over a far longer duration than some of the other segments mentioned earlier.
Archival assets may be older materials digitised from collections of assets the organisation already has stored in analogue form. This might also include original digital assets which have diminished in importance over time. Any existing metadata should not be discarded, but unless users are specifically looking for historical assets, search algorithms should either suppress them or reduce their priority so they do not interfere with more current material. Depending on the size of the library, it might be beneficial to keep these in a segregated collection which users access separately or need to explicitly ask to be included in searches. If assets lack any prior metadata then cataloguing of archival assets can be sub-contracted to external suppliers (with quality control provided by in-house subject experts) although if they are deemed of key historical value (e.g. old photos or illustrations of founders etc) then this may not always be suitable.
Artwork of withdrawn products/services, old logos, promotional materials from campaigns that have ended, former senior employees who left the organisation some time ago.
Work in progress assets can be either materials which are still being approved or they might be composite elements (i.e. combined with others to generate a piece). The latter may co-exist in two segments simultaneously since they may be used for one of the other purposes previously described and as composite supporting items for a work in progress asset.
If the sole purpose of the DAM is not just work in progress, most of these assets should be suppressed from conventional searches unless the users looking for them both have permission and have made a specific request to find them. Since the emphasis is on ensuring that production staff place assets into the DAM, much of the metadata should be derived using automated methods like workflow contexts etc to avoid placing barriers to getting assets into a repository. Some DAM systems which are closely linked to production workflows might automate this task (to varying degrees) by scanning working folders or by finding assets that have been used in print artwork.
For work in progress assets that will become final assets (or composite assets that might need to be re-used) some opportunities for allowing assets to be catalogued descriptively should be permitted to anticipate the point when they are finalised and released. Relating work in progress assets to a given master (for example all photos used in a brochure) can provide a en effective method to help users find relevant assets both during production and afterwards.
Complex collateral assets collectively originated by more than one person (e.g. multi-page print assets, videos, animations) or associated composite assets that they are derived from.
The above analysis demonstrates that different groups of assets can have potentially quite diverse metadata cataloguing requirements. Applying a single approach to all of them is highly inefficient and results in excessive work being carried out for those that do not require it and inadequate level of effort applied to those that do. Many busy corporate DAM users who have a lot of other tasks to get on with will simply not bother to carry out the cataloguing work to any degree necessary to generate useful results. If the cataloguing is tailored towards the planned use and the significance of each group clearly explained during training, however, then it is more likely that effort will be expended where it will yield a higher return.
The last item is particularly important: assets have a usage lifecycle and very few (if any) are likely to remain in a single phase indefinitely. As well as determining at which one is most relevant, it is also critical to have a process to identify when they should move between key stages and what to do with them when that happens.
Many of the strategies currently employed in DAM solutions are based on an earlier period when the key users tended to be more active in the media industry, especially publishers who were also some of the earlier adopters.
Organisations of all kinds now generate a lot more communications output – to the extent they now have some operational characteristics which are similar to conventional media businesses. In addition, the range of channels they distribute content to varies widely and this impacts the nature with which they need to catalogue their assets so the most suitable material is available in a timely and relevant manner. With that in mind, segmenting cataloguing in the manner described is likely to become the only practical way to stay on top of this task as time goes on and asset volumes continue to grow.
In the follow-up articles, I will examine some further methods by which asset cataloguing can be made more efficient while still preserving overall findability. This will include some investigation of automated methods (including their pitfalls) outsourcing options, employing user feedback and further approaches to sequencing or prioritising cataloguing tasks.


When a man and a woman are married in the Catholic Church, they receive the grace needed for a lifelong bond of unity.
The Sacrament of Holy Matrimony is a covenantal union in the image of the covenants between God and his people with Abraham and later with Moses at Mt. Sinai. This divine covenant can never be broken. In this way, marriage is a union that bonds spouses together during their entire lifetime.
The Catechism of the Catholic Church states, "The Christian family is a communion of persons, a sign and image of the communion of the Father and the Son in the Holy Spirit" (CCC 2205). The Sacrament of Holy Matrimony is "unitive, indissoluble and calls us to be completely open to fertility." Christian marriage is, at its finest, a reflection of God's self-giving love expressed in the love of two people.


Going to the beach is where you can spend your spare time when you own this standalone two-bedroom one-bathroom unit with its own parking space. High and elevated to capture the magnificent wide sea views out to Onetangi Beach. North facing capturing the beautiful sunny aspect.
This charming property is ideal investment or holiday retreat.
Lovely entertainment deck to spend time socialising or relaxing and soaking up the sun while you gaze out to sea. Lovely indoor outdoor flow for those summer barbeques from your private deck. A short stroll down to Onetangi beach for that morning swim and lovely cafes on the beachfront to be enjoyed. Bus stop and service station close by.
Vendor would like to move on and you could be moving in.


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THE 20th ANNUAL SARASOTA FILM FESTIVAL ANNOUNCES ERIC STOLTZ'S CLASS RANK AS OPENING NIGHT FILM, RORY KENNEDY'S ABOVE AND BEYOND: NASA'S JOURNEY TO TOMORROW AS CLOSING NIGHT FILM
Bess Donoghue
STEVE GUTTENBERG, VIRGINIA MADSEN TO BE HONORED WITH CAREER ACHIEVEMENT AWARDS
Festival Running April 13th Through April 22nd, 2018
Sarasota, FL (March 16, 2018) – The Sarasota Film Festival (SFF) today announced Golden Globe®-nominated and Independent Spirit Award®-nominated Eric Stoltz's coming-of-age comedy CLASS RANK as its Opening Night film and Academy Award®-nominated and Emmy®-winning Rory Kennedy's ABOVE AND BEYOND: NASA'S JOURNEY TO TOMORROW as its Closing Night film for the 20th anniversary edition. The festival also announced that renowned actor Steve Guttenberg and Academy Award®-nominated actress Virginia Madsen will be honored with Career Achievement Awards during the closing weekend.
"We are very excited to bookend the festival with two unique and groundbreaking films from two brilliant and creative directors," said Mark Famiglio, Chairman and President of the Sarasota Film Festival. "It is also an honor to recognize the contributions of Steve Guttenberg and Virginia Madsen to the film industry, and celebrate their work from over the years."
CLASS RANK will open the festival on Friday, April 13 at the Sarasota Opera House with a 7:30PM screening. In this light-hearted, quirky comedy, two teenagers (Olivia Holt, Skyler Gisondo) prepare for life after high school, teaming up to achieve their goals and make their dreams a reality. Kristin Chenoweth and Bruce Dern co-star. Director Eric Stoltz (MASK, PULP FICTION, television's CHICAGO HOPE and MADAM SECRETARY) and producer Sandy Stern will be in attendance at the screening.
Academy Award®-nominated documentary filmmaker Rory Kennedy (LAST DAYS IN VIETNAM, TAKE EVERY WAVE: THE LIFE OF LAIRD HAMILTON) will be in attendance for the festival's Closing night film ABOVE AND BEYOND: NASA'S JOURNEY TO TOMORROW, an intimate look at NASA's accomplishments and their vital role in our future as the renowned institution celebrates its 60th Anniversary. The Discovery Documentary will screen at the Sarasota Opera House on Saturday, April 21 beginning at 6:00PM.
Steve Guttenberg will be receiving a Career Achievement Award during the Closing Weekend. Guttenberg has starred in more than 60 films across an array of genres and is known for his roles in DINER, COCOON, the POLICE ACADEMY comedies, and THREE MEN AND A BABY. Guttenberg costars in CHASING THE BLUES — a comedy-drama about the search for a rare but cursed blues record — screening at the 20th SFF.
Academy Award®-nominated actress Virginia Madsen will also receive the Career Achievement Award during the Closing Weekend. Madsen is known for her work in Alexander Payne's SIDEWAYS, which garnered her an Oscar® nomination, THE RAINMAKER, GHOSTS OF MISSISSIPPI, JOY, television's DESIGNATED SURVIVOR, and many others. Madsen costars in the drama 1985 — about a young man's fears of coming out to his family in the early days of the AIDS crisis — which will show at the 20th SFF.
The 20th annual Sarasota Film Festival, which will take place from April 13th to April 22nd, greatly appreciates the support of its corporate sponsors, including the Amicus Foundation, The Famiglio Family, Regal Entertainment Group, Art Ovation Hotel, and Mutual of Omaha Bank.
ABOUT THE SARASOTA FILM FESTIVAL
Held annually in Sarasota, FL, The Sarasota Film Festival emphasizes the best in cinema alongside exciting programs and events, with more than 200 films screened each year including features, documentaries, shorts, and kid-friendly picks. Entering our 20th year, we're proud to bring the best new and established independent filmmakers to our Festival with local and kid-friendly programs that showcase our idyllic Gulf Coast community. This year the festival will take place April 13th – 22nd, 2018.
Bess Donoghue | This email address is being protected from spambots. You need JavaScript enabled to view it.
OPENING NIGHT FILM
Director: Eric Stoltz
Produced By: Sandy Stern and Shaun Sanghani
Cast: Olivia Holt, Skyler Gisondo, Kristin Chenoweth, Bruce Dern
Academia, suburbia, romance, and politics face off in this wry, smart, and warm comedy directed by Eric Stoltz (MASK, PULP FICTION, television's CHICAGO HOPE and MADAM SECRETARY). Faced with unexpected road blocks en route to their next steps in life, two New Jersey high school outsiders, Veronica (Olivia Holt) and Bernard (Skyler Gisondo), team up to fight the system from within – and scheme their way to their dreams. Veronica is a straight-A, Type-A personality, like her affectionate TV producer mom (Kristin Chenoweth), and is aiming to go to Yale; Bernard is running for a seat on the local Board of Education and fighting minor neighborhood offenses, all while caring for his sprightly widowed grandfather (Bruce Dern) and balancing social awkwardness with social responsibility. Together, Veronica and Bernard have the right stuff to achieve their goals.
CLOSING NIGHT FILM
ABOVE AND BEYOND: NASA'S JOURNEY TO TOMORROW
Director: Rory Kennedy
Produced By: Rory Kennedy and Mark Bailey
As NASA celebrates its 60th anniversary, Discovery shines a spotlight on the historic institution taking us to the moon, to the surface of Mars, to the outer edge of our solar system, and beyond. Directed, produced, and narrated by Academy Award®-nominated and Emmy®-winning Rory Kennedy, ABOVE AND BEYOND: NASA'S JOURNEY TO TOMORROW examines the extraordinary ways NASA has changed not only our vision of the universe but also our planet and ourselves. But more than a moving portrait of NASA's many accomplishments in space, the film also sheds light on the agency's lesser-known area of focus: the vital role NASA has played in measuring the health of our home planet. However far NASA may travel, its gaze has always returned to Earth — monitoring our seas and skies, our ice and sands — in an ongoing struggle to meet today's great challenge: protecting our planet.
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This Just In! Lauren Mitchell CD
Bite Squad Offers Free Delivery on Donut Day, June 7 to Sarasota, Bradenton, Venice, Port Charlotte, North Port
Congrats Cortez! Best Stone Crab Festival, EVER!
Rock Music Icon – Paul McCartney at Amalie Arena


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WSJ Op-Ed: Trump Should Be Appalled by Police Asset Forfeiture
Article | March 6, 2017
In less than three years, 19 states and Washington, D.C. have passed laws to limit or shine a light on civil forfeiture. Building on those successes, lawmakers in nearly 20 states have introduced similar bills. In an op-ed today for The Wall Street Journal, Senior Legislative Counsel Lee McGrath and I survey the national landscape for reform, where "interest in stopping civil forfeiture has never been greater:"
Today more than 40 states and the federal government permit law-enforcement agencies to retain anywhere from 45% to 100% of forfeiture proceeds. As a result, forfeiture has practically become an industry.
The Institute for Justice, where we work, has obtained data on asset forfeiture across 14 states, including California, Texas and New York. Between 2002 and 2013, the revenue from forfeiture more than doubled, from $107 million to $250 million. Federal confiscations have risen even faster. In 1986 the Justice Department's Assets Forfeiture Fund collected $93.7 million. In 2014 the number was $4.5 billion.
To prevent these abuses, lawmakers in Alaska, Connecticut, North Dakota and Texas have sponsored legislation that would send confiscated proceeds directly to the general fund of the state or county. Similar measures in Arizona and Hawaii would restrict forfeiture proceeds to being used to compensate crime victims and their families.
We also counter egregious claims made by one sheriff who tried to defend civil forfeiture:
America's sheriffs have given President Trump a woefully inaccurate view of civil asset forfeiture—the process through which police seize, and prosecutors literally sue, cash, cars and real estate that they suspect may be connected to a crime. "People want to say we're taking money and without due process. That's not true," a Kentucky sheriff told the president last month at a White House meeting. Critics of forfeiture, the sheriff added, simply "make up stories."
In fact, thousands of Americans have had their assets taken without ever being charged with a crime, let alone convicted. Russ Caswell almost lost his Massachusetts motel, which had been run by his family for more than 50 years, because of 15 "drug-related incidents" there from 1994-2008, a period through which he rented out nearly 200,000 rooms.
Read the whole op-ed here.


The text in annexure, Ram Janmabhoomi / Babri Masjid at Ayodhya : An Archaeological and Art-Historical Examination, by dr. S.P. Gupta, is a detailed survey of those findings at the disputed site which are relevant for the present discussion. It lists the details about the components of an earlier temple that have been re-employed in The Babri Masjid, and the results of excavations just outside the building. These excavations were carried out in 1975-80 by the Archaeological Survey of India, and led by prof. B.B. Lal. Their object of investigation was primarily the early period, presumed to have been the period of the events which formed the historical core of the Ramayana epic. Therefore, the findings relating to the medieval period have not been highlighted in the concise ASI excavation reports published so far.
Dr. S.P. Gupta, former director of the Allahabad Museum, who participated in the excavations, has written this first-hand report on the category of findings pertinent to the present discussion. His conclusions have been broadly confirmed by prof. B.B. Lal, in an article published in Manthan (October 1990), as well as in an interview with BBC television.


Any info on how this album was recorded...? I like it a lot.
I need to get some keyboards for my studio. Please help.
Which overhead mic for a pool table?
What mic would you use for my voice?
best 6922 tube for a Mezzo-soprano lead vocal?
JBL LSR 6328P any good?
Multiple (3+) compressors on a vocal??
Flexibility in Stereo Mic Wind Reduction?
San Diego based studios: recommendations please?
How realistic for a homemade M7 capsule?
5'' monitors with good bass? Adam A5x, Focal Alpha 50...?
Laqua & Beyer Mic Preamp?
Cascade X-15 w/ Lundahl. Anyone Heard It?
3U Audio GZ251Fet VS Rode k2 VS GZ47fet?


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Make a pledge >
IMPA Sustainability Team
Synergy Group joins IMPA SAVE's campaign to reduce shipping's reliance on single-use plastic drinkin
IMPA SAVE aims to vastly reduce the more than 40 tons of waste plastic bottles disposed of by the global shipping fleet each year.
Synergy Group's fleet of more than 375 ships are now committed to cutting plastic usage.
Captain Rajesh Unni, Founder and CEO of the Singapore-based ship manager, sees the reduction of plastic use on board ships as part of shipping's wider challenge of meeting United Nations (UN) Sustainable Development Goals.
Synergy Group has added its 375 plus fleet of vessels to the IMPA SAVE initiative to curb the deployment of single-use drinking water bottles at sea.
IMPA SAVE was launched by the International Marine Purchasing Association (IMPA) in 2020. It aims to reduce the almost one billion litres of drinking water delivered to the global shipping fleet each year which generates more than 40 tons of waste bottles.
"I think society in general as well as shipping needs to recognise and address the fact that single-use plastic is not only a terribly poor use of finite resources, it also creates long-term pollution and disposal issues," said Captain Rajesh Unni, Founder and CEO of Singapore-based ship manager Synergy Group.
"Ensuring we conserve and protect the environment is amongst our company's top priorities, so we are delighted to add the IMPA SAVE initiative to our active sustainability programme.
"Reducing and eliminating the use of single-use plastic water bottles and all other forms of wasteful packaging on our ships and in our offices is just a first step. We need to address the global plastic and microplastic problem on a systemic level in the years ahead."
The IMPA SAVE pledge
The IMPA SAVE programme enables ship owners and managers to pledge to cut usage of plastic water bottles via a dedicated website developed for the programme by IMPA at www.impasave.org. Including the recently added Synergy vessels, shipping companies representing more than 8,000 vessels have now pledged to stop using single-use water bottles as part of IMPA SAVE.
IMPA SAVE is fully aligned with the United Nations' (UN) Sustainable Development Goals (SDGs). IMPA, for example, intends that IMPA SAVE becomes the vehicle through which IMPA members and marine colleagues work with the industry's best and brightest to harness collective knowledge of sustainable solutions for the benefit of all in the maritime sector.
"We all need to play our part in meeting the UN's SDGs," said Captain Unni. "That will be a major focus for Synergy this year. SDGs provide a blueprint for a more sustainable planet. There is a lot of talk about long-term challenges in regards to fuels and new regulations, but we can address plastics right now which is why we are so supportive of IMPA SAVE."
A plastic bridge to the moon
Mikael Karlsson, the programme's chair and IMPA's sustainability special ambassador, said: "Just picture a bridge five feet wide made of plastic drinking water bottles; our industry's annual consumption would reach all the way to the moon. If that is not enough then consider the impact on the environment of the delivery of the bottles, the packaging and the CO2."
Karlsson and his colleagues on the SAVE council believe the damage to the environment can be significantly reduced via practical solutions for providing healthy and clear water for seafarers that are also less expensive for ship owners and managers than procuring thousands of single-use plastic bottles.
"With many vessels already operating with a functioning reverse osmosis or evaporators onboard the addition of a filtration system means drinking water is freely available offering a return on investment that benefits all," added Karlsson.
Leading shipowners collaborate
The IMPA SAVE council is made up of a leading group of global shipowners and maritime suppliers representing companies with a combined fleet of more than 1000 vessels and massive collective purchasing power. Representatives from Maersk Procurement, Teekay Shipping, Wilhelmsen Ship Management, Ocean Catering and Weco Shipping are represented on the council. The group is chaired by IMPA Special Ambassador Mikael Karlsson of Francois Marine & Offshore, part of the Stena Group.
By bringing companies together under the IMPA SAVE programme IMPA aims to create an opportunity to share knowledge on better, more sustainable practices and alternatives through regular webinars and conferences designed to motivate each other to be better stewards of our oceans through procurement and supply chain management and committing and impact reporting.
Stephen Alexander, IMPA's chief operating officer, said: "SAVE's mantra is guarding our people and our planet. Companies such as Synergy Group have a huge role to play in this."
- End-
About IMPA
IMPA was founded in 1978 by a group of senior purchasing executives in the shipping industry and today represents more than 1000 companies around the world. It operates under a five-pillar programme that includes events and networking, membership programme, sustainability initiatives, the Marine Stores Guide reference system and education. In 2013 the association launched a world first in responsible supply chain management IMPA ACT that was aligned to the UN guiding principles introduced two years earlier, this represented the organisation's first step on a sustainability journey.
To find out more about IMPA visit the website at www.impa.net.
For further information and photographs please contact the following:
Stephen Alexander,
IMPA Chief Operating Officer
IMPA Secretariat Office
Tel: +44 (0)1206 798900 – Email: salexander@impa.net
FLEET joins IMPA SAVE's pledge to reduce environmental footprint of single-use plastic bottles
Maritime purchasers and suppliers join forces to further drive IMPA SAVE efforts
Supply chain leaders drive firsinitiative for the mass reduction of single use plastic water bottles
IMPA SAVE is an IMPA initiative | Company Registration Number: 4375666
| Registered Office: East Bridge House, East Street Colchester, CO1 2TX,
E: sustainability@impa.net


The Airblade technology combined with the Dyson digital motor V4 creates high speed sheets of air. The Dyson Airblade dB hand dryer is the fastest way to dry hands. It is suitable for all washrooms, particularly where sound levels are an important consideration.
Dyson AB14 is now 50% quieter than any other Dyson Airblade Hand Dryer. It is constructed from tough and durable polycarbonate ABS. Dyson's digital motor spins at 90000rpm giving an approximate drying time of 10 seconds. The Dyson Airblade dB hand dryer has been approved by HACCP as being hygienically safe for use in the food and beverage industry.


The basic principles of Laughter Yoga are that we can laugh for no reason. Laughter is innate whereas humour is learnt. Babies laugh, naturally, even blind babies do. The brain cannot differentiate between what's real or fake. That's been scientifically proven. Fake it, fake it until you make it is the Laughter Yoga motto. Before you know it, you will laugh for real because laughter is contagious. Laughter balances the stress hormones just like crying does. With daily laughter you connect to your inner joy which is totally unconditional. Even when your circumstances are challenging you have the right to laugh for no reason. The only theory needed is the theory of silliness!!! When you allow yourself to get in touch with your inner child and ask your logical brain to have a snooze!
Laughter yoga is yogic breathing combined with laughter exercises. In a Laughter Yoga session, we'll typically start with a warm up, lots of breathing exercises, laughter exercises, a laughter relaxation, lying down on a mat followed by a body/mind relaxation and lots of fun!!!
Deep breathing gives an inner massage to the diaphragm. That relaxes the body, balances the hormones and the neurological centres connected to it and stimulates the lymphatic system and the immune system.
Laughter yoga reduces stress, relieves pain,relaxes muscles, empties the lung at a deeper level, oxygenates the body, reduces anger, enhances communication, bolsters morale, inspires creativity, boosts immunity, decreases anxiety, maintains hope!!
In the program The Young Ones, broadcast on the BBC in September 2010, scientists measured how a 1 hour laughter yoga session would affect the stress level and blood pressure level of a team of highly stressed ambulance people. As you can see in the link below, the scientist measured a decrease in both stress levels and blood pressure.
Norman Cousin is the pioneer of laughing to help our health. He wrote his book about his experience called 'Anatomy of an illness'. Suffering from a degenerative disease of the spine, he checked himself out of hospital were they were filling him with steroids and booked into a hotel room. There he spent time watching funny videos from the era, late 60's, and taking large doses of Vitamin C. He noticed that following a hearty bout of laughter he could have two pain free hours of sleep. In time, he was able to recover from his potentially fatal disease.
Laughter Yoga is not a miracle cure and should not be considered as a substitute for medical consultation for physical, mental and psychological illnesses. However, it is a powerful natural complementary form of healing.
People who have undergone major surgery should wait at least 3 months before doing Laughter yoga. If in doubt, consult a medical professional for guidance.


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Midokura to Present and Exhibit at Interop Las Vegas 2014
Company to Showcase Its Network Virtualization Solution at Premier IT Event
By Marketwired .
March 26, 2014 09:01 AM EDT
SAN FRANCISCO, CA -- (Marketwired) -- 03/26/14 -- Midokura, a global company focused on network virtualization, today announced its presence and speaking session at Interop Las Vegas 2014, held March 31 - April 4, 2014, in Las Vegas. Midokura will be demonstrating its highly distributed and agile network virtualization solution, MidoNet, at booth #2442.
Interop is a leading independent technology conference and expo series designed to inform and inspire the world's IT community. Through in-depth educational programs, real-world demonstrations and live technology implementations, Interop showcases the most powerful innovations and solutions the industry has to offer.
Midokura Presentation At-a-Glance
Presentation Title: "The Great Debate: Overlay vs. OpenFlow"
Who: Adam Johnson, General Manager, Midokura
When: Wednesday, April 2, 2014, 11:45 am-12:45pm PT
Where: Breakers D, Mandalay Bay Convention Center, Las Vegas
Session Summary: Since the of rise Software Defined Networking (SDN), technologists have been strongly divided by vendors and research communities alike touting two unique approaches for network virtualization: One that relies on a software-centric overlay approach and one that takes a hardware-centric alternative under a single controller, such as OpenFlow. The criticisms on both sides claim limitations to scalability, increases in complexity, and warn of the problems with dragging physical-network baggage into a virtualized world. In this presentation, Midokura General Manager Adam Johnson will discuss the history of SDN, what he believes OpenFlow is best for, and compare and contrast this with the practical goals of network virtualization and what overlay networking is perfect for. Attendees will also learn about breaking down the operation definitions within the industry and explore which solution is right for your company's needs.
In October of 2013, Midokura announced a new release of its flagship product, MidoNet. MidoNet is a software-based, highly distributed, network virtualization system that allows enterprises and service providers to build, run, and manage virtual networks with increased control and flexibility. Using industry standards and leveraging existing physical infrastructure, MidoNet reduces costs and improves stability, scalability and performance of networks.
MidoNet is available now. To register for a free trial, go to http://www.midokura.com/signup/.
Connect with Midokura
To schedule one-on-one meetings with Midokura executives at Interop Las Vegas 2014, contact [email protected]. Follow the company on Twitter at http://twitter.com/midokura.
Register for Interop Las Vegas at: http://www.interop.com/lasvegas/registration/
Tweet This:.@Midokura to present & exhibit at @Interop LV. Visit booth #2442 and for more info on the session, please visit: http://ubm.io/1pFBb9p
Midokura
MidoNet
MidoNet Free Trial
Midokura Twitter
About Midokura
Midokura is a global company focused on network virtualization. Founded in 2010, the team has a pedigree including Amazon and Google, and has spent more than three years building MidoNet, a complete overlay network virtualization solution that integrates with cloud platforms, such as OpenStack. Midokura has offices in San Francisco, Tokyo and Barcelona, and is on the web at http://www.midokura.com. Follow us on twitter: @midokura
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Tanya Carlsson
Kulesa Faul, Inc.
Published March 26, 2014 – Reads 559
More Stories By Marketwired .
Copyright © 2009 Marketwired. All rights reserved. All the news releases provided by Marketwired are copyrighted. Any forms of copying other than an individual user's personal reference without express written permission is prohibited. Further distribution of these materials is strictly forbidden, including but not limited to, posting, emailing, faxing, archiving in a public database, redistributing via a computer network or in a printed form.


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easyJet puts more flights on sale, launches new routes and resumes holidays to the Canary Islands
180,000 extra seats available to book from today from just £22.99* which is a 500% increase in searches across flights and holidays and launch of five brand new routes between the UK and the Canaries from 7 November in response to customer demand. In addition easyJet holidays will resume package holidays to the Canary Islands from just £289 per person.
easyJet has announced it will be putting more flights on sale to the Canary Islands in response to a surge in customer demand for flights and holidays, following the UK government announcement that they have been added to the list of quarantine exempt destinations for British travellers.
The changes mean that many customers will now be able to take a winter sun break to these popular islands or reschedule a holiday that they've been unable to take this summer as a result of the last-minute changes to quarantine restrictions.
To help take more Brits away on a well-deserved break, easyJet will be putting additional flights on sale across its routes to the islands from London Gatwick, London Luton, Bristol, Manchester, Liverpool, Edinburgh, Glasgow and Belfast.
Over 180,000 additional seats to the Canary Islands will now be available up to the end of March 2021, with fares from just £22.99.
easyJet is also launching five new routes to from Edinburgh to Lanzarote and Fuerteventura; from Glasgow to Tenerife and Gran Canaria; and Belfast to Tenerife, with flights taking off from 7 November.
With a 500% increase in searches day-on-day across both the easyJet and easyJet holidays websites, the airline is responding to demand and bringing forward new routes due to launch this winter from London Luton to Fuerteventura and Gran Canaria, which will now take-off ahead of schedule also from 7 November.
All easyJet customers can change their flights to a later date without a change fee up to 14 days ahead of departure.
Ali Gayward, UK Country Manager, easyJet said: "We welcome the announcement from the UK government that the Canary Islands have been added to the list of quarantine exempt countries for British travellers.
"This will mean many of our customers will be able to take a winter sun break to these popular islands or reschedule a holiday that they've been unable to take this summer as a result of the last minute changes to quarantine restrictions.
"Since the government's announcement last night we've already seen a surge of demand for flights and holidays to the Canary Islands – we've seen a 500% increase day on day on searches – so we know that there is customer demand, they want to travel and this demonstrates they will do so when travel restrictions are relaxed. In response to the demand we're seeing from our customers we're putting additional flights on sale from today well as launching five new routes to the Canary Islands from our airports across the UK.
"We continue to encourage the Government to take a lead in moving to testing, as well as the approval of new testing technologies, as soon as possible as effective testing is crucial to get people flying again."
Holidays are available to book now with packages available from just £289 per person. With its year-round sunshine, supersized beaches and range of hotels, the Canary Islands are the perfect choice for a winter sun getaway. Few places in the world offer as much to see and do, so it's no wonder that many holidaymakers return to the Canary Islands time and again.
Tenerife, the largest of the islands, is a paradise for walkers and nature lovers and is perfect for a family holiday or luxury break. Or, with its volcanic landscape, balmy temperatures and incredible range of water sports, the Unesco protected island of Lanzarote is ideal for beach holidays. While those looking for a livelier break need look no further than Gran Canaria, with its fun nightlife, adrenaline fuelled activities and bustling town. What's more, the black and gold beaches of the Canary Islands can be reached in less than five hours from the UK.
Recognising nervousness around travel, the holiday provider launched a set of Covid Commitments to ensure customer safety and reassurance when booking a holiday. And customers will have peace of mind knowing that, as well as being an ABTA member, all easyJet holidays are ATOL protected and are covered by the easyJet holidays Protection Promise. This industry leading, customer-first policy launched in September 2020 offers ultimate flexibility and protection. The Promise offers a refund guarantee, freedom to change a booking, a reduced balance due date, a Best Price Guarantee and deposit refunds, should plans change, letting customers book with confidence. Customers can also rest assured that if the holiday firm needs to cancel a holiday, they will be refunded quickly as the company has refunded those impacted by the pandemic in an average of 12 days.
Matt Callaghan, easyJet holidays Customer Director, said: "With each day getting colder we know just how much people are longing for some sun so we've welcomed today's announcement and we can't wait to start taking our customers back to the Canary Islands, which are a perfect year-round destination and a firm favourite. We've got some fantastic offers from just £289 per person for anyone looking to getaway and beat the winter blues.
"We want to give our customers peace of mind, which is why we launched our Covid Commitments and our Protection Promise, which lets people book their holidays with the reassurance that if things change they are protected. We're totally committed to being on our customers' side and doing the right thing, always."
For more information and to book visit easyJet.com
Jet2.com and Jet2holidays Add Brand New Destination from Belfast International for Summer '20
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Airport welcomes reinstatement of Canary Islands flights
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Central America/ Environment
Lessons from Costa Rica: over 200 days without fossil fuels
Chiara Campanelli 0 Comment October 17, 2016
Reaching the compromise between development and environmental sustainability is probably perceived as one of the greatest problems of 21st century. This is a historic period where all countries are trying to complete the transition from a fossil fuel-based economy to an economic system principally supported by renewable energies.
The answer to the energy problem could come from Costa Rica.
Costa Rica is a small state stuck in the middle of the American continent, counting just a 4.5 million population but with one of the highest rates on the Human Development Index and wide social guarantees such as free education and health insurance.
In 2009 Costa Rica was rated as the greenest country in the world; nearly 100% of electricity came from renewable sources, including solar power. In 2015, Costa Rica didn't use any fossil fuels to generate its own electricity for almost 299 days.
This is not just a matter of chance, but it is the result of specific political choices which can be perceived as brave.
The Brave Decision
Investing in environmental development has not affected Costa Rica's growth; it is the results of policies implemented by government from the 1950s. Costa Rica found the funding for its development after the abolition of its army.
Following a brief but bloody civil war, the country permanently abolished the army in 1949; this decision allowed Costa Rica to cut military spending and reinvest money in social policies. In the 1950's this brave decision allowed the government to invest in hydro power and in the 1970's invest in a wide operation of reforestation. Nowadays, electricity in Costa Rica is generated mainly from water, volcanoes and solar panels.
How can we decarbonize an economy?
This factor hides a paradox: 17% of energy consumption comes from the use of fossil fuels in transports. Costa Rica is projecting to become a carbon neutral country by 2021. Its target aims to bring carbon emissions to 1.73 tonnes CO2e per capita in 2030, 1.19 tonnes CO2e per capita in 2050 and 0.27 tonnes of CO2e per capita to 2100.
Costa Rica thinks that the best way to reduce emission is to abolish the usage of fossil fuel in transportation and promote a transition to electric public transports. Before 2021, new attention will be paid to urban mobility and promoting electrification of the private auto fleet.
Redesigning mobility and cities based on people's needs rather than car usage in Costa Rica will lead to an innovative economic growth.
For the second time in its history, Costa Rica is facing a second brave decision: turning down fossil fuel consumption, after having turned down military spending more than fifty years ago.
Written by Chiara Campanelli
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text:
Q: ASP.NET MVC load view into jQuery dialog I have a view that i access through the following URL:
domain.com/Records/Details/xxxx
where xxxx is the user ID e.g. 1234
In another view i have the users listed and on mouse hover i need to display their records in jQuery dialog.
Therefore i want to load the earlier mentioned view via URL into jquery dialog but somehow it does not work. Maybe i am doing something wrong?
open: function (event, ui) {
     $(this).load("/Records/Details/" + $(this).data("uid"));
}

data("uid") returns the correct value so i guess the issue is somewhere else.
Any ideas? Thank you


text:
Artmap
MACBA Museu d ́Art Contemporani de Barcelona
04 Jul - 24 Sep 2008
© Nancy Spero
Codex Artaud XVII, 1972
"Dissidances"
Nancy Spero (Cleveland, Ohio, 1926) is one of the pioneers of feminist art and was a key figure on the dissident New York scene of the 1960s and 70s, along with artists like Martha Rosler and Adrian Piper, to whom the MACBA has already devoted individual retrospectives. As an artist and activist, her career is an ongoing example of commitment to the political, social and cultural scene in which we live. A proof of this is her response to the recent warlike events in which her country has become embroiled, events that have resituated her work in the forefront of our times.
Nancy Spero. Dissidances is the first major retrospective of this artist's work to be mounted in both Europe and the United States. The show brings together works that extend from her beginnings as a student at the Art Institute of Chicago, never before exhibited, to her recent presentation at the 2007 Venice Biennale. The title of the exhibition, taken from the text by Hélène Cixous for the catalogue, suggests a potential reading which subsumes two basic aspects of the artist's work: its critical, non-conformist nature in terms of the politico-artistic situation she has lived through during her career and the importance of movement and of the body as vehicles for articulating her discourse. Organized chronologically, the exhibition presents her work as a unitary project in which past and present become blurred, as in the ancient fables and narratives that have been an inspiration to her.
In 1959 Nancy Spero and her husband, Leon Golub, both of them figurative painters established in Chicago, moved with their children to Paris, where they lived from 1959 to 1964, fleeing the preponderance of abstraction on the North-American art scene. In that city Spero made contact with literary, more than artistic, intellectual circles and got deeply involved in readings that would be fundamental, later on, for her work, as in the case of the writings of Artaud. During these early years the artist created a series of works grouped together under the title of Black Paintings (1959-1960). These are figurative pictures of a lyrical expressionism, focusing on themes like night, maternity and lovers, through which characters wander against dark backgrounds laboriously created via the accumulation of layers of paint. The feeling of isolation and impasse that these works transmit correspond to the artist's personal and professional situation at the time.
Spero and Golub returned to New York in 1964, at a moment when opposition to the war in Vietnam and the Civil Rights movement had begun to play a huge role in her country. Her political commitment helped her to escape from her isolation and endowed her with a voice of her own, which would henceforth become the basic research motif in her work. Spero jettisoned painting on canvas, a medium she considered to be male, and settled for the use of paper, whose fragility endowed her painting with a new temporality, procedural quality and expressiveness, as occurs with the series War (1966-1970). In them, Spero gives free rein to her anger and disgust vis-à-vis the war, through manifestos in which she introduces explicit gender imagery and many-layered metaphors about the obscenity and violence of power. Her works are suffused with tongues and phallic bombs, helicopters and defecating mushroom clouds and phrases from military slang. This is an obsessive set of pictures that creates a sort of hieroglyph or visual writing.
In 1969 Spero distanced herself from the politico-military debate of the time in order to create a group of works based on texts by the French poet Antonin Artaud, the Artaud Paintings (1969-1970). In them she compulsively cites the poet in order to express and exorcise the ire and alienation she was feeling as an artist. These works evolved towards the vast Codex Artaud (1971-1972), consisting of 34 scrolls made up of sheets of paper glued end-to-end. Open-ended in format, this multifarious piece, which recalls ancient writings, marks the mature phase of her work and became a turning point in the art of the 1970s. Unlike that of her conceptualist contemporaries, the language in it is obscene and manually written, like a graffito, giving her work a different sort of corporeality that distances it from the official discourses of the time.
Spero's participation in the feminist movement – she collaborated with WAR (Women Artists in Revolution) and carried out protests and actions to demand an equal amount of representation for men and women in museums – led the artist to deal with issues like women's torture and pain, whilst conveying their strength and freedom. This is the way Torture of Women (1976) came into being, an epic work which combines terrifying images, quotes and testimonies of the atrocities committed by South-American dictatorial regimes against women, according to the reports of Amnesty International and other sources. The piece, a 38-metre-long scroll of fourteen panels, obliges the spectator to traverse the space in a rather unorthodox manner, a formula she would develop in her subsequent works.
The First Language (1981) is her next mega-scroll and marks a point of inflection in her career. With it she abandoned the written word in favor of the female body as a vehicle for expressive language. In this work Spero adopts a deliberately optimistic tone in order to underline the power of the imagination and of hope, in opposition to tyranny and domination. The piece consists of 22 horizontal panels in which female figures proceeding from various historical moments alternate in an extended space, combining presence and emptiness on the blank page. The naked bodies – some of them fragmentary – follow one another and move, leap, fall, stretch, cower and repeat, creating a personal alphabet.
By the end of the 1980s Spero tended more and more towards the hand-printing of figures and backgrounds, and extended her lexicon to include architecture. In this way she did away with any obstacle between the work and the space it was shown in, obliging viewers to participate much more actively by altering their way of looking and their position. In 1998 Spero produced an installation called Let the Priests Tremble... in the Ikon Gallery in London, the central part of which we reproduce in the exhibition. In it, strong, athletic women dance to the sound of a passage from an essay by Hélène Cixous from her book The Laugh of the Medusa. Nancy Spero's rapport with the female writing of authors like Cixous and Kristeva is a recurring theme in critical essays on her work. The artist's interest is also shown in explicit affirmations like, "One cannot advance if it's not in a new direction. The French feminists speak of 'écriture féminine' and I try to with 'peinture féminine'." The text by Cixous published in the catalogue to our show presents, like some intimate story, the profound relationship between these two artists.
The 1980s and 90s were years in which she created numerous exhibitions and achieved critical recognition. From then on, Spero's work became more exuberant and affirmative, and expressed – as she put it – a kind of "utopia" involving the possibility of change. Even so, she didn't turn her back on themes and procedures that had interested her since the beginning of her career, like pain, destruction or violence, the both of them becoming two sides of the same coin in terms of her artistic and personal world. The exhibition reflects this duality in two neighboring rooms in which, without following any chronological order, works that establish a dialog between grief and joy are mixed together. Worth highlighting, among these, is Ballad of Marie Sanders, an installation the artist has created in a variety of ways and in which, for the first time in years, she reworks the text with a 1934 Bertolt Brecht poem about a Gentile woman tortured for having had sexual relations with a Jew, as a way of recording the suffering concealed beneath oppressive regimes.
At the end of the 1990s color acquired greater importance in Spero's work, the monumental Azur (2002) being a good example of this. In this piece, which borrows its title from a poem by Mallarmé, the artist deliberately uses color and seeks new and surprising ways of composing a picture, dotting the space with female creatures and creating a dreamlike sequence in which they move without temporal restrictions against a geometrically patterned background. Here, color is handled with the same skill she used to handle text with in the 1970s; by repeating it, combining it, superimposing it, taking liberties with it, leaving it blank, while foregoing the traditional opposition between figure and ground, abstraction and figuration.
Finally, in Maypole: Take No Prisoners (2007), an installation produced for the Venice Biennale, Spero has gone back to a recurrent theme in her work and, alas, in the politics of her country: war. The piece is a maypole with 200 treated and painted aluminum heads that, in the words of the artist, she has cannibalized from her war paintings of the 1960s. With this piece we close the temporal circle of her trajectory; we go back to the beginning and encroach on the chronological boundaries of the retrospective.
Curators:Manuel J. Borja-Villel and Rosario Peiró
Co-produced by: Museu d'Art Contemporani de Barcelona (MACBA) and Museo Nacional Centro de Arte Reina Sofía (MNCARS), Madrid
www.macba.es
Tags: Antonin Artaud, Leon Golub, Adrian Piper, Martha Rosler, Nancy Spero
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Join us for a great day of fun on October 20th and support a great organization working to improve the country's 9-1-1 system. The Denise Amber Lee Foundation Golf Tournament is being held in beautiful South Florida at Winston Trails Golf Club. Show your support and make an impact on our event by Sponsoring, Playing, or Purchasing Hole Sponsor signs. Special hotel rates are available for those from outside the region. Call Marco Esteban at the Hampton Inn West Palm Beach at 561-472-5980 and ask for the discounted rate for the Denise Amber Lee Memorial Golf Tournament.
For individuals, PSAPs, and corporations wanting to support this event but cannot attend, we have an unlimited number of Hole Sponsor Signs that can be purchased for just $100 each. Show your support with your agency name, logo, or a testimonial from those attending our training sessions.
For the sponsorship flyer, click here.
To play in the tournament, click here to register.
Special thanks to Motorola Solutions, our primary corporate sponsor.


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text:
Deep in the Shallows
By J.L. O'Rourke
Crime & mystery | Paperback, eBook
Jenner Lichtwark (J.L. O'Rourke)
Andrea North is looking forward to a job at Lake Waihola as a way to escape from a man who tried to control her life, but an easy task is soon complicated by a house with a secret hoard, dead birds, and a close encounter with a callous but good looking pig hunter. When the campground dog pulls a gruesome object from the lake, Andy discovers who she can trust as the police and the pig hunter involve her in their hunt for a missing man.
J. L. O'Rourke is the pen-name of Jenner Lichtwark, the editor/owner of Millwheel Press. Trained as a journalist and sub-editor, Jenner worked in newspapers, radio and as a freelance writer for longer than she cares to remember. Jenner writes murder mysteries, YA urban fantasy, freeform poems, and stories for children. When not writing, Jenner enjoys being in a theatre, either onstage as a singer or backstage where she has been everything from floor crew to stage manager. She lives on a peaceful olive grove in North Canterbury.
J. L. O'Rourke is the pen-name of Jenner Lichtwark, the editor/owner of Millwheel Press. Trained as a journalist and sub-editor, Jenner worked in newspapers, radio and as a freelance writer for longer than she cares to remember. Jenner writes murder mysteries, YA urban fantasy, freeform poems, and stories for children. When not writing, Jenner enjoys being in a theatre, either onstage as a singer ...


text:
/////////////////////////////////////////////////////////////////////////
//
// PicaVoxel - The tiny voxel engine for Unity - http://picavoxel.com
// By Gareth Williams - @garethiw - http://gareth.pw
//
// Source code distributed under standard Asset Store licence:
// http://unity3d.com/legal/as_terms
//
/////////////////////////////////////////////////////////////////////////
using System.Collections.Generic;
using UnityEditor;
using UnityEngine;
using Object = UnityEngine.Object;

namespace PicaVoxel
{
    public class MultiPartWindow : EditorWindow
    {
        private GameObject parentObject;

        private int xSize = 1;
        private int ySize = 1;
        private int zSize = 1;

        private int volumeXSize = 32;
        private int volumeYSize = 32;
        private int volumeZSize = 32;

        private bool centerPivot = false;

        private float voxelSize = 0.1f;

        private string objectName = "Multi-part Volume";

        private FillMode fillMode = FillMode.AllVoxels;

        public void Init()
        {
            titleContent = new GUIContent("Create Multi-part Volume");
        }

        public void OnGUI()
        {
            EditorGUILayout.LabelField("Create Multi-part Volume", new GUIStyle() { fontStyle = FontStyle.Bold });
            EditorGUILayout.Space();
            objectName = EditorGUILayout.TextField("Volume name: ", objectName);
            EditorGUILayout.Space();
            EditorGUILayout.LabelField("Number of volumes:");
            EditorGUILayout.Space();
            EditorGUILayout.BeginHorizontal();
            EditorGUILayout.LabelField("X:", new[] {GUILayout.Width(30)});
            xSize = EditorGUILayout.IntField(xSize);
            EditorGUILayout.LabelField("Y:", new[] {GUILayout.Width(30)});
            ySize = EditorGUILayout.IntField(ySize);
            EditorGUILayout.LabelField("Z:", new[] {GUILayout.Width(30)});
            zSize = EditorGUILayout.IntField(zSize);
            EditorGUILayout.EndHorizontal();

            if (xSize < 1) xSize = 1;
            if (ySize < 1) ySize = 1;
            if (zSize < 1) zSize = 1;

            EditorGUILayout.Space();
            EditorGUILayout.LabelField("Size of each volume:");
            EditorGUILayout.Space();
            EditorGUILayout.BeginHorizontal();
            EditorGUILayout.LabelField("X:", new[] { GUILayout.Width(30) });
            volumeXSize = EditorGUILayout.IntField(volumeXSize);
            EditorGUILayout.LabelField("Y:", new[] { GUILayout.Width(30) });
            volumeYSize = EditorGUILayout.IntField(volumeYSize);
            EditorGUILayout.LabelField("Z:", new[] { GUILayout.Width(30) });
            volumeZSize = EditorGUILayout.IntField(volumeZSize);
            EditorGUILayout.EndHorizontal();

            if (volumeXSize < 1) volumeXSize = 1;
            if (volumeYSize < 1) volumeYSize = 1;
            if (volumeZSize < 1) volumeZSize = 1;
            if (volumeXSize > 64) volumeXSize = 64;
            if (volumeYSize > 64) volumeYSize = 64;
            if (volumeZSize > 64) volumeZSize = 64;

            EditorGUILayout.Space();
            EditorGUILayout.LabelField("Total size (voxels): " + xSize * volumeXSize + "x" + ySize * volumeYSize + "x" + zSize * volumeZSize);

            EditorGUILayout.Space();
            voxelSize = EditorGUILayout.FloatField("Voxel size: ", voxelSize);
            fillMode = (FillMode)EditorGUILayout.EnumPopup("Fill each volume: ", fillMode);
            centerPivot = EditorGUILayout.ToggleLeft(" Center Pivot", centerPivot);

            EditorGUILayout.Space();
            EditorGUILayout.BeginHorizontal();
            if (GUILayout.Button("Create"))
            {
                if (xSize < 1) xSize = 1;
                if (ySize < 1) ySize = 1;
                if (zSize < 1) zSize = 1;

                parentObject = new GameObject();
                parentObject.name = objectName;
                MultiPartVolume mpv = parentObject.AddComponent<MultiPartVolume>();
                mpv.XSize = xSize;
                mpv.YSize = ySize;
                mpv.ZSize = zSize;

                for (int x = 0; x < xSize; x++)
                    for (int y = 0; y < ySize; y++)
                        for (int z = 0; z < zSize; z++)
                        {
                            var newObject = Instantiate(EditorUtility.VoxelVolumePrefab, Vector3.zero, Quaternion.identity) as GameObject;
                            if (newObject != null)
                            {
                                newObject.name = objectName + " ("+x+","+y+"," + z +")";
                                newObject.GetComponent<Volume>().XSize = volumeXSize;
                                newObject.GetComponent<Volume>().YSize = volumeYSize;
                                newObject.GetComponent<Volume>().ZSize = volumeZSize;
                                newObject.GetComponent<Volume>().Material = EditorUtility.PicaVoxelDiffuseMaterial;
                                newObject.GetComponent<Volume>().VoxelSize = voxelSize;
                                newObject.GetComponent<Volume>().GenerateBasic(fillMode);
                                newObject.transform.parent = parentObject.transform;
                                //if(!centerPivot)
                                    newObject.transform.localPosition = new Vector3(x* volumeXSize * voxelSize, y*volumeYSize*voxelSize, z*volumeZSize*voxelSize);
                                //else
                                //{
                                //    newObject.GetComponent<Volume>().Pivot = (new Vector3(volumeXSize, volumeYSize, volumeZSize) * voxelSize) / 2f;
                                //    newObject.GetComponent<Volume>().UpdatePivot();
                                //    newObject.transform.localPosition = -(new Vector3(xSize * volumeXSize * (voxelSize/2f), ySize * volumeYSize * (voxelSize/2f), zSize * volumeZSize * (voxelSize/2f)))
                                //        + new Vector3(volumeXSize * (voxelSize / 2f), volumeYSize * (voxelSize / 2f), volumeZSize * (voxelSize / 2f))
                                //        + new Vector3(x * volumeXSize * voxelSize, y * volumeYSize * voxelSize, z * volumeZSize * voxelSize);
                                //}
                            }
                        }

                mpv.Material = EditorUtility.PicaVoxelDiffuseMaterial;
                mpv.GetPartReferences();
                if(centerPivot) mpv.SetPivotToCenter();
                Close();
            }
            if (GUILayout.Button("Cancel")) Close();
            EditorGUILayout.EndHorizontal();
        }
    }

}


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