text:
package org.apache.spark.mllib.linalg.distributed

import java.util.Arrays

import scala.util.Random

import breeze.linalg.{norm => brzNorm, svd => brzSvd, DenseMatrix => BDM, DenseVector => BDV}
import breeze.numerics.abs

import org.apache.spark.SparkFunSuite
import org.apache.spark.internal.config.MAX_RESULT_SIZE
import org.apache.spark.mllib.linalg.{Matrices, Vector, Vectors}
import org.apache.spark.mllib.random.RandomRDDs
import org.apache.spark.mllib.util.{LocalClusterSparkContext, MLlibTestSparkContext}
import org.apache.spark.mllib.util.TestingUtils._

class RowMatrixSuite extends SparkFunSuite with MLlibTestSparkContext {

  val m = 4
  val n = 3
  val arr = Array(0.0, 3.0, 6.0, 9.0, 1.0, 4.0, 7.0, 0.0, 2.0, 5.0, 8.0, 1.0)
  val denseData = Seq(
    Vectors.dense(0.0, 1.0, 2.0),
    Vectors.dense(3.0, 4.0, 5.0),
    Vectors.dense(6.0, 7.0, 8.0),
    Vectors.dense(9.0, 0.0, 1.0)
  )
  val sparseData = Seq(
    Vectors.sparse(3, Seq((1, 1.0), (2, 2.0))),
    Vectors.sparse(3, Seq((0, 3.0), (1, 4.0), (2, 5.0))),
    Vectors.sparse(3, Seq((0, 6.0), (1, 7.0), (2, 8.0))),
    Vectors.sparse(3, Seq((0, 9.0), (2, 1.0)))
  )

  val principalComponents = BDM(
    (0.0, 1.0, 0.0),
    (math.sqrt(2.0) / 2.0, 0.0, math.sqrt(2.0) / 2.0),
    (math.sqrt(2.0) / 2.0, 0.0, - math.sqrt(2.0) / 2.0))
  val explainedVariance = BDV(4.0 / 7.0, 3.0 / 7.0, 0.0)

  var denseMat: RowMatrix = _
  var sparseMat: RowMatrix = _

  override def beforeAll(): Unit = {
    super.beforeAll()
    denseMat = new RowMatrix(sc.parallelize(denseData, 2))
    sparseMat = new RowMatrix(sc.parallelize(sparseData, 2))
  }

  test("size") {
    assert(denseMat.numRows() === m)
    assert(denseMat.numCols() === n)
    assert(sparseMat.numRows() === m)
    assert(sparseMat.numCols() === n)
  }

  test("empty rows") {
    val rows = sc.parallelize(Seq[Vector](), 1)
    val emptyMat = new RowMatrix(rows)
    intercept[RuntimeException] {
      emptyMat.numCols()
    }
    intercept[RuntimeException] {
      emptyMat.numRows()
    }
  }

  test("toBreeze") {
    val expected = BDM(
      (0.0, 1.0, 2.0),
      (3.0, 4.0, 5.0),
      (6.0, 7.0, 8.0),
      (9.0, 0.0, 1.0))
    for (mat <- Seq(denseMat, sparseMat)) {
      assert(mat.toBreeze() === expected)
    }
  }

  test("gram") {
    val expected =
      Matrices.dense(n, n, Array(126.0, 54.0, 72.0, 54.0, 66.0, 78.0, 72.0, 78.0, 94.0))
    for (mat <- Seq(denseMat, sparseMat)) {
      val G = mat.computeGramianMatrix()
      assert(G.asBreeze === expected.asBreeze)
    }
  }

  test("getTreeAggregateIdealDepth") {
    val nbPartitions = 100
    val vectors = sc.emptyRDD[Vector]
      .repartition(nbPartitions)
    val rowMat = new RowMatrix(vectors)

    assert(rowMat.getTreeAggregateIdealDepth(100 * 1024 * 1024) === 2)
    assert(rowMat.getTreeAggregateIdealDepth(110 * 1024 * 1024) === 3)
    assert(rowMat.getTreeAggregateIdealDepth(700 * 1024 * 1024) === 10)

    val zeroSizeException = intercept[Exception]{
      rowMat.getTreeAggregateIdealDepth(0)
    }
    assert(zeroSizeException.getMessage.contains("zero-size object to aggregate"))
    val objectBiggerThanResultSize = intercept[Exception]{
      rowMat.getTreeAggregateIdealDepth(1100 * 1024 * 1024)
    }
    assert(objectBiggerThanResultSize.getMessage.contains("it's bigger than maxResultSize"))
  }

  test("SPARK-33043: getTreeAggregateIdealDepth with unlimited driver size") {
    val originalMaxResultSize = sc.conf.get[Long](MAX_RESULT_SIZE)
    sc.conf.set(MAX_RESULT_SIZE, 0L)
    try {
      val nbPartitions = 100
      val vectors = sc.emptyRDD[Vector]
        .repartition(nbPartitions)
      val rowMat = new RowMatrix(vectors)
      assert(rowMat.getTreeAggregateIdealDepth(700 * 1024 * 1024) === 1)
    } finally {
      sc.conf.set(MAX_RESULT_SIZE, originalMaxResultSize)
    }
  }

  test("similar columns") {
    val colMags = Vectors.dense(math.sqrt(126), math.sqrt(66), math.sqrt(94))
    val expected = BDM(
      (0.0, 54.0, 72.0),
      (0.0, 0.0, 78.0),
      (0.0, 0.0, 0.0))

    for (i <- 0 until n; j <- 0 until n) {
      expected(i, j) /= (colMags(i) * colMags(j))
    }

    for (mat <- Seq(denseMat, sparseMat)) {
      val G = mat.columnSimilarities(0.11).toBreeze()
      for (i <- 0 until n; j <- 0 until n) {
        if (expected(i, j) > 0) {
          val actual = expected(i, j)
          val estimate = G(i, j)
          assert(math.abs(actual - estimate) / actual < 0.2,
            s"Similarities not close enough: $actual vs $estimate")
        }
      }
    }

    for (mat <- Seq(denseMat, sparseMat)) {
      val G = mat.columnSimilarities()
      assert(closeToZero(G.toBreeze() - expected))
    }

    for (mat <- Seq(denseMat, sparseMat)) {
      val G = mat.columnSimilaritiesDIMSUM(colMags.toArray, 150.0)
      assert(closeToZero(G.toBreeze() - expected))
    }
  }

  test("svd of a full-rank matrix") {
    for (mat <- Seq(denseMat, sparseMat)) {
      for (mode <- Seq("auto", "local-svd", "local-eigs", "dist-eigs")) {
        val localMat = mat.toBreeze()
        val brzSvd.SVD(localU, localSigma, localVt) = brzSvd(localMat)
        val localV: BDM[Double] = localVt.t.toDenseMatrix
        for (k <- 1 to n) {
          val skip = (mode == "local-eigs" || mode == "dist-eigs") && k == n
          if (!skip) {
            val svd = mat.computeSVD(k, computeU = true, 1e-9, 300, 1e-10, mode)
            val U = svd.U
            val s = svd.s
            val V = svd.V
            assert(U.numRows() === m)
            assert(U.numCols() === k)
            assert(s.size === k)
            assert(V.numRows === n)
            assert(V.numCols === k)
            assertColumnEqualUpToSign(U.toBreeze(), localU, k)
            assertColumnEqualUpToSign(V.asBreeze.asInstanceOf[BDM[Double]], localV, k)
            assert(closeToZero(s.asBreeze.asInstanceOf[BDV[Double]] - localSigma(0 until k)))
          }
        }
        val svdWithoutU = mat.computeSVD(1, computeU = false, 1e-9, 300, 1e-10, mode)
        assert(svdWithoutU.U === null)
      }
    }
  }

  test("svd of a low-rank matrix") {
    val rows = sc.parallelize(Array.fill(4)(Vectors.dense(1.0, 1.0, 1.0)), 2)
    val mat = new RowMatrix(rows, 4, 3)
    for (mode <- Seq("auto", "local-svd", "local-eigs", "dist-eigs")) {
      val svd = mat.computeSVD(2, computeU = true, 1e-6, 300, 1e-10, mode)
      assert(svd.s.size === 1, s"should not return zero singular values but got ${svd.s}")
      assert(svd.U.numRows() === 4)
      assert(svd.U.numCols() === 1)
      assert(svd.V.numRows === 3)
      assert(svd.V.numCols === 1)
    }
  }

  test("validate k in svd") {
    for (mat <- Seq(denseMat, sparseMat)) {
      intercept[IllegalArgumentException] {
        mat.computeSVD(-1)
      }
    }
  }

  def closeToZero(G: BDM[Double]): Boolean = {
    G.valuesIterator.map(math.abs).sum < 1e-6
  }

  def closeToZero(v: BDV[Double]): Boolean = {
    brzNorm(v, 1.0) < 1e-6
  }

  def assertColumnEqualUpToSign(A: BDM[Double], B: BDM[Double], k: Int): Unit = {
    assert(A.rows === B.rows)
    for (j <- 0 until k) {
      val aj = A(::, j)
      val bj = B(::, j)
      assert(closeToZero(aj - bj) || closeToZero(aj + bj),
        s"The $j-th columns mismatch: $aj and $bj")
    }
  }

  test("pca") {
    for (mat <- Seq(denseMat, sparseMat); k <- 1 to n) {
      val (pc, expVariance) = mat.computePrincipalComponentsAndExplainedVariance(k)
      assert(pc.numRows === n)
      assert(pc.numCols === k)
      assertColumnEqualUpToSign(pc.asBreeze.asInstanceOf[BDM[Double]], principalComponents, k)
      assert(
        closeToZero(BDV(expVariance.toArray) -
        BDV(Arrays.copyOfRange(explainedVariance.data, 0, k))))
      // Check that this method returns the same answer
      assert(pc === mat.computePrincipalComponents(k))
    }
  }

  test("multiply a local matrix") {
    val B = Matrices.dense(n, 2, Array(0.0, 1.0, 2.0, 3.0, 4.0, 5.0))
    for (mat <- Seq(denseMat, sparseMat)) {
      val AB = mat.multiply(B)
      assert(AB.numRows() === m)
      assert(AB.numCols() === 2)
      assert(AB.rows.collect().toSeq === Seq(
        Vectors.dense(5.0, 14.0),
        Vectors.dense(14.0, 50.0),
        Vectors.dense(23.0, 86.0),
        Vectors.dense(2.0, 32.0)
      ))
    }
  }

  test("compute column summary statistics") {
    for (mat <- Seq(denseMat, sparseMat)) {
      val summary = mat.computeColumnSummaryStatistics()
      // Run twice to make sure no internal states are changed.
      for (k <- 0 to 1) {
        assert(summary.mean === Vectors.dense(4.5, 3.0, 4.0), "mean mismatch")
        assert(summary.variance === Vectors.dense(15.0, 10.0, 10.0), "variance mismatch")
        assert(summary.count === m, "count mismatch.")
        assert(summary.numNonzeros === Vectors.dense(3.0, 3.0, 4.0), "nnz mismatch")
        assert(summary.max === Vectors.dense(9.0, 7.0, 8.0), "max mismatch")
        assert(summary.min === Vectors.dense(0.0, 0.0, 1.0), "column mismatch.")
        assert(summary.normL2 === Vectors.dense(math.sqrt(126), math.sqrt(66), math.sqrt(94)),
          "magnitude mismatch.")
        assert(summary.normL1 === Vectors.dense(18.0, 12.0, 16.0), "L1 norm mismatch")
      }
    }
  }

  test("QR Decomposition") {
    for (mat <- Seq(denseMat, sparseMat)) {
      val result = mat.tallSkinnyQR(true)
      val expected = breeze.linalg.qr.reduced(mat.toBreeze())
      val calcQ = result.Q
      val calcR = result.R
      assert(closeToZero(abs(expected.q) - abs(calcQ.toBreeze())))
      assert(closeToZero(abs(expected.r) - abs(calcR.asBreeze.asInstanceOf[BDM[Double]])))
      assert(closeToZero(calcQ.multiply(calcR).toBreeze - mat.toBreeze()))
      // Decomposition without computing Q
      val rOnly = mat.tallSkinnyQR(computeQ = false)
      assert(rOnly.Q == null)
      assert(closeToZero(abs(expected.r) - abs(rOnly.R.asBreeze.asInstanceOf[BDM[Double]])))
    }
  }

  test("dense vector covariance accuracy (SPARK-26158)") {
    val denseData = Seq(
      Vectors.dense(100000.000004, 199999.999999),
      Vectors.dense(100000.000012, 200000.000002),
      Vectors.dense(99999.9999931, 200000.000003),
      Vectors.dense(99999.9999977, 200000.000001)
    )
    val denseMat = new RowMatrix(sc.parallelize(denseData, 2))

    val result = denseMat.computeCovariance()
    val expected = breeze.linalg.cov(denseMat.toBreeze())
    assert(closeToZero(abs(expected) - abs(result.asBreeze.asInstanceOf[BDM[Double]])))
  }

  test("compute covariance") {
    for (mat <- Seq(denseMat, sparseMat)) {
      val result = mat.computeCovariance()
      val expected = breeze.linalg.cov(mat.toBreeze())
      assert(closeToZero(abs(expected) - abs(result.asBreeze.asInstanceOf[BDM[Double]])))
    }
  }

  test("covariance matrix is symmetric (SPARK-10875)") {
    val rdd = RandomRDDs.normalVectorRDD(sc, 100, 10, 0, 0)
    val matrix = new RowMatrix(rdd)
    val cov = matrix.computeCovariance()
    for (i <- 0 until cov.numRows; j <- 0 until i) {
      assert(cov(i, j) === cov(j, i))
    }
  }

  test("QR decomposition should aware of empty partition (SPARK-16369)") {
    val mat: RowMatrix = new RowMatrix(sc.parallelize(denseData, 1))
    val qrResult = mat.tallSkinnyQR(true)

    val matWithEmptyPartition = new RowMatrix(sc.parallelize(denseData, 8))
    val qrResult2 = matWithEmptyPartition.tallSkinnyQR(true)

    assert(qrResult.Q.numCols() === qrResult2.Q.numCols(), "Q matrix ncol not match")
    assert(qrResult.Q.numRows() === qrResult2.Q.numRows(), "Q matrix nrow not match")
    qrResult.Q.rows.collect().zip(qrResult2.Q.rows.collect())
      .foreach(x => assert(x._1 ~== x._2 relTol 1E-8, "Q matrix not match"))

    qrResult.R.toArray.zip(qrResult2.R.toArray)
      .foreach(x => assert(x._1 ~== x._2 relTol 1E-8, "R matrix not match"))
  }
}

class RowMatrixClusterSuite extends SparkFunSuite with LocalClusterSparkContext {

  var mat: RowMatrix = _

  override def beforeAll(): Unit = {
    super.beforeAll()
    val m = 4
    val n = 200000
    val rows = sc.parallelize(0 until m, 2).mapPartitionsWithIndex { (idx, iter) =>
      val random = new Random(idx)
      iter.map(i => Vectors.dense(Array.fill(n)(random.nextDouble())))
    }
    mat = new RowMatrix(rows)
  }

  test("task size should be small in svd") {
    val svd = mat.computeSVD(1, computeU = true)
  }

  test("task size should be small in summarize") {
    val summary = mat.computeColumnSummaryStatistics()
  }
}


The developers have launched the test server of the patch 0.9.19.
To participate in the test, you need to download a special installer, run it and install the game in a separate folder.
Or, if you have already played on the test, run a test launcher, which will update the game to the latest version.
Managing the clan without leaving the game.
A female voice-over for all nations, if the tank commander is a girl.
Recycled in HD-quality some tanks.
Minor additions and interface improvements.


text:
Q: Django struggling to make migrations I'm currently learning django and doing the tutorial from Django Rest Framework.
The problem is the following. I have the following tree:
.
./tutorial
./tutorial/manage.py
./tutorial/tutorial
./tutorial/tutorial/__init__.py
./tutorial/tutorial/__init__.pyc
./tutorial/tutorial/settings.py
./tutorial/tutorial/settings.pyc
./tutorial/tutorial/snippets
./tutorial/tutorial/snippets/__init__.py
./tutorial/tutorial/snippets/__init__.pyc
./tutorial/tutorial/snippets/admin.py
./tutorial/tutorial/snippets/apps.py
./tutorial/tutorial/snippets/apps.pyc
./tutorial/tutorial/snippets/migrations
./tutorial/tutorial/snippets/migrations/__init__.py
./tutorial/tutorial/snippets/models.py
./tutorial/tutorial/snippets/tests.py
./tutorial/tutorial/snippets/views.py
./tutorial/tutorial/urls.py
./tutorial/tutorial/wsgi.py

I added dependencies in settings.py by adding
'rest_framework',
'snippets.apps.SnippetsConfig',

in INSTALLED_APPS.
The problem is that when I do ElbattoresMacbook:tutorial elbattore$ python manage.py makemigrations snippets. I have the following error:
Traceback (most recent call last):
  File "manage.py", line 22, in <module>
    execute_from_command_line(sys.argv)
  File "/anaconda/lib/python2.7/site-packages/django/core/management/__init__.py", line 367, in execute_from_command_line
    utility.execute()
  File "/anaconda/lib/python2.7/site-packages/django/core/management/__init__.py", line 341, in execute
    django.setup()
  File "/anaconda/lib/python2.7/site-packages/django/__init__.py", line 27, in setup
    apps.populate(settings.INSTALLED_APPS)
  File "/anaconda/lib/python2.7/site-packages/django/apps/registry.py", line 85, in populate
    app_config = AppConfig.create(entry)
  File "/anaconda/lib/python2.7/site-packages/django/apps/config.py", line 142, in create
    app_module = import_module(app_name)
  File "/anaconda/lib/python2.7/importlib/__init__.py", line 37, in import_module
    __import__(name)
ImportError: No module named snippets

What's wrong with what I do?? I'm strictly following http://www.django-rest-framework.org/tutorial/1-serialization/
But it doesn't work...
Thanks guys

A: You did this step twice:
cd tutorial

... and ended up inside ./tutorial/tutorial instead of ./tutorial.
You can fix that either by moving snippets one folder-level lower or change installed app to tutorial.snippets.apps.SnippetsConfig. I suggest moving the folder one level lower. Your structure should look like this:
./tutorial
-/tutorial/tutorial     <-- Project settings folder
./tutorial/snippets     <-- App folder

redpajama_set_name: RedPajamaStackExchange


These days, pumpkin beer tends to solicit as strong of a reaction as a certain caffeinated, chain-delivered counterpart. As someone who lives in a place where fall means 80-degree weather, October showing up in the calendar typically leads to German-style brews instead. But somehow Tupps Brewery, a young operation out in McKinney, Texas just a bit north of Dallas, has forced a bit of soul-searching. The brewery's Full Grown Jack—an "imperial stout with pumpkin spices"—has become a must-find fall beer throughout Texas in just its second seasonal appearance.
The can says "Black Ale," but the beer name opts for "Imperial Stout". Whatever Full Grown Jack is, this beer is dark. Its aroma presents something much more colorful, though. Tupps may advertise "pumpkin spices", but emphasis should lie on the spice, via an incredibly aromatic snickerdoodle scent. You can debate what specific cinnamon-forward baked good you're smelling, but don't expect the Starbucks PSL™ experience here.
Despite being a heavy beer at 12.1% ABV, Full Grown Jack proves deceptively drinkable. Tupps' cans feature a one to five dot scale for things like bitter and sweet flavors. This beer earns two for bitter and three for sweet, resulting in a balanced drinking experience. Similar to that first sense-driven impression, the beer doesn't deliver a ton of pumpkin overall—maybe there's slightly to taste versus the beer's aroma. Instead, those fall spices pleasantly linger on the tongue after a delightfully warming, smooth sensation with each sip.
Austin and Houston have the higher profile beer scenes, but maybe it shouldn't surprise anyone that moving even a little bit north can lead to perhaps the state's best pumpkin brew. Know that it comes in four-packs for a reason, but those one or two beers will warm even the biggest pumpkin skeptic's heart.


text:
'Spoliarium' by Juan Luna (1884)
Artists, designers rally to raise awareness on disaster preparedness
SCALE model of Nagasaki and Odonahoma district in Japan before the Great Hanshin-Awaji Earthquake in 1995 JOHN ERNEST F. JOSE
By: John Ernest F. Jose Philippine Daily Inquirer / 08:30 AM November 24, 2014
DAN Matutina showcasing his studio's Forms of Recollection furniture set.
Art as a tool for disaster preparedness is the main idea behind Earth Manual Project, a Japan-sponsored travelling exhibit showing the creative outputs of artists from different countries in response to floods, earthquakes and typhoons.
Hirokazu Nagata, chair of the project, said the tagline of the exhibit was "A country of frequent natural disasters can also be a country of high disaster preparedness."
"I had seen various exhibits that tackle disaster preparedness from different countries and they had innovative ideas, and we decided that these ideas be collated and be shared internationally," Nagata said.
The Manila run of the exhibition is running at Ayala Museum and features 12 projects: Iza! Kaeru Caravan!, Jishin Itsumo Project, and Red Bear Survival Camp by NPO Plus Arts (Japan); Design for Flood by Thailand Creative and Design Center (Thailand); Climate School Project by Dakila (Philippines); The Filipino Spirit Is Waterproof by Ayala Museum (Philippines); Paper Partition System by Shigeru Ban (Japan); RooSuFlood: Knowledge to Fight Flood by RooSuFlood (Thailand); "Lost Homes" Model Restoration Project by Osamu Tsukihashi (Japan); Core House: Extensive Live Post Earthquake by Ikaputra (Indonesia); Floating Wombs: A healing project through the arts—heARTS by Alma Quinto (Philippines); and Forms of Recollection by Plus63 Design Co. (Philippines).
Drills, toy donations
EARTH Manual Project chair Hirokazu Nagata showing over 50 different "skill badges" at the Red Bear Survival Camp for Disaster Preparedness
Japan's Iza! Kaeru Caravan! is a disaster drill program where participants learn necessary skills for disaster preparedness through card games, hand-on programs, quizzes and other interactive activities.
The caravan also made a barter system in which children donate their toys in exchange for other used toys, instilling the value of volunteerism.
"The program has been conducted more than 150 times in 20 prefectures throughout Japan," said Nagata.
Focusing also on children is Red Bear Survival Camp, where participants are taught basic survival skills such as knotting ropes, filtering water, pitching tent and producing fire. Skill badges are given to children who successfully complete each task.
The Jishin Itsumo Project uses the print media as means of spreading disaster awareness. Its major publication, the Jishin Itsumo Note, records the stories of 167 earthquake survivors in Japan, as well as tips on disaster preparedness based on their firsthand experience.
"People could not move at all when the big earthquake hit," says a survivor in the book, "they could not hear people crying out for help because their cries were muffed by the sound of the helicopters used by the media." Paper Partition system, a brainchild of renowned Japanese architect Shigeru Ban, is a partition system that could be used as evacuation facilities. It uses paper-based materials for posts, beams and joints, and curtains.
SINGER and Dakila member Aia de Leon singing at the opening of Earth Manual exhibit.
Proper partitioning gives evacuees much needed privacy and provides orderliness even in a chaotic setting. The material itself is recyclable, easy to install and cost-effective.
The "Lost Homes" model Restoration Project is a scale model of Nagasaki and Odanohama before the Great Hanshin-Awaji Earthquake in 1995. It was conceptualized by Kobe University professor Osamu Tsukisashi. The models were made by university students based on inputs from locals.
"You can have a more relaxed conversation when talking through the medium of the miniature model, an object, than talking directly to people, said Tsukisashi. "The model brings back memories associated with (the survivors') former homes and is an effective medium for communicating memories to the future generations."
Thailand's RooSuFlood: Knowledge to Fight Flood is a series of animated ads that aims to educate Thais on how to respond to floods. The project is a collaboration between students, media professionals, creative artists and volunteers. It is a response to massive flooding in the country in 2011.
SCALE model of the Core House that served as emergency housing during the 2006 Java earthquake.
Project leader Thawatchai Saengthamchai said public information spread during the emergency was so inadequate and difficult to understand that the viewers didn't prepare for the disaster.
"We wanted to give information that was accurate, easy-to-understand and truly helpful for their survival," Saengthamchai said.
Another project from Thailand is Design for Flood, a collection of furniture, equipment and signage designed to float during floods. Examples include school chairs and tables for kindergarten that double as a flotation devices; a foldable boat, a floating toilet, and emergency food rations and manuals kept in a floatable bag.
Indonesian architect Ikaputra designed a temporary housing system called Core House, which serves as temporary emergency shelter for the victims of the Java earthquake in 2006. Its major characteristic is the extension system, which allows the house to expand to accommodate the needs of its user. The money for the extension can come from various aids or from the user's own money.
Ikaputra was not satisfied with the aesthetics of the houses at first because of the cost restrictions.
Thai-designed desk and chair for kindergarten students that doubles as a flotation device during flood.
"I was very frustrated because I could not feel I was using all my skills as an architect," said Ikaputra. "But I eventually realized that the important thing was not the aesthetic design, but the system."
Waterproof Filipino spirit
With earthquakes and typhoons afflicting the country over the years, Filipino artists and designers are doing their share to increase public awareness for disaster preparedness.
The Climate School Project is a series of activities by Dakila to raise environmental awareness via music video disseminating climate-change issues (BasuROCK), art exhibits made from recycled materials (BasurART), and collaboration projects with government (BasuraHAND) such as holding a "plastic holiday" in the public markets of Malabon.
Dakila is composed of students, activists, artists and young professionals.
Utilizing social media, Ayala Museum came up with the campaign The Filipino Spirit is Waterproof to give moral support to Filipinos affected by Typhoon "Yolanda."
Music video of Dakila band is played while the guitar used on the video,made from scraps, goes on display.
The slogan was created by Ayala Museum's marketing and public relations officer Spike Acosta. It quickly grew into a campaign. Various inspirational posters made by students and creative artists were designed with the slogan attached to it.
Floating Wombs is a series of workshops seeking to treat the psychological trauma of the victims of floodings and typhoons in Cagayan de Oro City and the Bicol region.
Children participate in workshops in drawing, dance, theater, creative writing and storytelling to draw out stories of their experiences during the disasters.
The women attend sewing and cooking workshops. The workshops are facilitated by artist Alma Quinto.
"When you work with the community, you should not behave like an artist who dictates how the workshop will progress, but as a facilitator who works with the participants," Quinto said.
Forms of Recollection are sets of furniture in resin that contain debris from houses ruined by disasters. Conceptualized by Dan Matutina, the furniture items transform ruins into symbols of hope.
"Forms of Recollection is melancholia put to good use. By encasing rough and broken materials, we create a graphic memento that is functional in everyday life," Matutina said in his website.
The Earth Manual exhibit is running at Ayala Museum until Dec. 7. Visit www.earthmanual.org/exhibition/en.
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This marijuana strain is named after the methods of mental manipulation employed by the CIA's Project MKUltra, this indica-dominant strain stands apart from the others due to its powerful cerebral effects. It is a cross between mostly-sativa hybrid OG Kush and indica G-13, this strain is bred by TH Seeds and won 1st place Indica at the High Times Marijuana Cup in 2003 and 2nd place in 2004 respectively. The strain's Indoor growing is facilitated by the plant's short stature, and its above average yield delivers particularly sticky, thick, pungent flowers. MK Ultra is renowned for its 'hypnotic' effects that are fast-acting and good to used when strong medication is desired. As evidenced by its collection of awards over the years, this indica weed strain is one of the strongest in the world. It might be best for a day when not getting off the couch and going out would be fine.
Mk Ultra Weed For Sale. MK Ultra plants are short, reaching heights of 100 – 120cm. It has sticky, dense and pungent flowers with tight, resin coated buds which are extremely sticky and almost white. Its scent is a bit strange – it resembles burnt plastic mixed with lemon and diesel. However, there is nothing strange about its taste – a long lasting piney, earthy sweet with a hint of mustiness. The smoke of this strain is very smooth.
This powerful strain is considered to be one of the most powerful Indicas in the world. Its hypnotic cerebral effects hit almost immediately. Smoking this strain causes the eyelids to become very heavy and droop, thus making MK Ultra perfect for patients suffering from insomnia. It induces a heavy couch lock, which makes it suitable to combat stress as well. Upon use, users often demonstrate signs of giddiness, with an ever-present smile on their faces. Thus, depression can also be cured with the help of this exceptional strain. MK Ultra was originally grown by T.H. Seeds. Its short stature makes it suitable for indoor growth, but it can be grown outdoors as well. It takes 8-9 weeks to flower, and has an above average yield of 350gm per square meter.


Juliet Reynolds, well-known art critic and wife of the Hungryalist painter, Anil Karanjai, met the editors of the Sunflower Collective at her Jor Bagh residence recently for a chat about her husband and his art, the art-world of India in general, and the Leftist politics and its understanding of art. The conversation started with a discussion about a previous post on TSC describing Karanjai as "embittered" towards the end of his life. This is part one of a three part series.
Juliet Reynolds: I was just a bit taken aback by the word 'embittered'. And I got your point; you clarified it. Anil's…wasn't so much embitterment.
AS: Has Malay da used the word?
AS: Actually, that's my understanding from reading the book (Finding Neema). I don't put a negative value to bitterness. I like Bob Dylan; his songs are bitter. I think any reasonable person will feel bitter with this world because it is unfair.
GB: Not that as a man he was bitter.
JR: Ok, we clarified it now.
AS: He had taken to painting landscapes which were not considered highly in terms of concept.
JR: For him, landscapes were his own rebellion against mainstream art, which was more and more imitating the trends in the West; he always felt strongly about that…art going into post-modernism, installation, he refused to do it.
AS: What is your view on it?
JR: Very rarely have I seen anything (of this sort) which struck a chord in me…emotional or intellectual. Recently, I was at the Royal Academy in London and I saw Ai Weiwei's work and it was mostly installations. I was skeptical at first… because he is critical of the Communist regime so the West is making him very big…but I recognised that the man really has something, he has originality. Anish Kapoor is a midget in front of him, frankly.
AS: You don't care much for his work?
JR: Also highly over-rated. Ridiculous. And it is not particularly new exhibiting bartan and garbage …even people like Vivan Sundaram, from an older generation, a really well-trained, very skillful artist, even he has piled up garbage at the Lalit Kala Akademi.
AS: Do you think identity is being peddled in the name of art?
JR: Certainly, I think there is tokenism. Anil was not only against it … from deep inside his core, he could not do (what others were doing). It did not come from within. If his art did not come from somewhere deep inside him, he wasn't going to do it.
GB: Which was shown at the Sahitya Akademi?
JR: Yes, and he talks of spiritual loneliness in it. He wasn't religious though. So that connection with nature he felt. He also wanted to give a contemporary, modern language to landscape while not straying too far from realism. That got him into a lot of trouble. Some called it calendar art. Anil looked at calendar art. He wanted to bridge the gap between high art and low art, to communicate with people. He was not interested in painting only for the elite. He wanted to communicate with as wide a public as possible… (Of course) no artist is going to produce a masterpiece every time. It takes trial and error, experimentation. That happens to every artist. But everywhere his detractors would be saying "aah", "ooh"…"look at him, he's painting Lodhi Gardens." Lodhi Gardens was the closest place where he could be in nature. Like Cézanne, he was exploring the forms of nature, something much deeper, something more rooted; like Cézanne painted that mountain in Southern France (Mont Sainte Victoire) hundreds of times, looking for something, that feeling he would get standing in front of it, how could he capture that feeling?
AS: Do you think he was protesting against the diktats of the Progressive movement and its emphasis on social realism?
JR: He knew about the Modern masters and paid homage to them in his early works. But he was not very influenced by any one artist. Maybe in his early years he liked the old master, Hieronymus Bosch…To be a Modernist, your work had to be full of contortions and distortions; he was also turning his back on that. But it wasn't just for the sake of it, it was because he felt it also.
AS/ GB: Tell us about his politics?
JR: The Hungry Generation were anarchists, nihilsts. But Anil did not share that; from a very early stage, he was associated with the Left, the far-Left. I think he became a cadre of one of the mainstream Marxist parties also but they told him that he should wear dirty shoes when going to the people, that he should fill up these forms if he wanted to be promoted up the hierarchy, so he told them to take a running jump.
AS: So he did not favour their dogma and pretences?
AS: You mean the Naxal movement?
JR: Yeah…He wasn't in Bengal at that time but he would go to Calcutta…. Also, there were student movements going on in Benaras, he was involved in all that. You couldn't just define him narrowly. Anything which was questioning the status quo, something with solid foundation that could overthrow the status quo, anything of that kind had his support.
GB: In fact, he told me about you and that's how we got in touch.
The interview was first published on The Sunflower Collective on 12/31/15. Read the full interview here.
The Sunflower Collective is a blogzine based in India that researches on and translates The Beats and The Hungry Generation poets. It also publishes contemporary poetry from around the world.
What a wonderful Interview! A must read for the art enthusiasts.


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Mr. Henderson is the President and Chief Executive Officer of SEAGD. Prior to this appointment, Mr. Henderson had served as Director of Finance and Administration of SEAGD since April 1, 1998. His title of Chief Financial Officer was added in 2002. Prior to joining SEAGD, Mr. Henderson was employed by Alabama Electric Cooperative, Inc. for 12 years, serving in various financial positions, the last of which was Controller, to which he was appointed in 1995. Before working for AEC, Mr. Henderson was employed by PriceWaterhouseCoopers LLP where he earned the designation of Certified Public Accountant. Mr. Henderson is a graduate of Auburn University, where he received a Bachelor of Science Degree in Business Administration with an Accounting major. Mr. Henderson serves as Chairman of various committees of the Alabama Natural Gas Association and Auburn School of Accountancy Alumni Advisory Board, and serves on the Boards of Directors of American Public Gas Association and Covington County Bank. He is also a member of the Southern Gas Association. Mr. Henderson also serves as Assistant Secretary and Treasurer of SEAGD, and as Treasurer of the Alabama Municipal Distributors Group.
Mr. Thornton is the General Manager of Lancaster County Natural Gas Authority ("LCNGA"), which is a member of PEG. He is also Chairman of the PEG Board of Directors. He has 11 years' experience at LCNGA and over 32 years of natural gas industry experience in operations, engineering and management. Mr. Thornton joined LCNGA in 1997 as Assistant Manager, and was promoted to the position of General Manager in January of 2001. Prior to working with LCNGA, Mr. Thornton held the positions of Gas System Manager for the City of Monroe, North Carolina, and Superintendent of System Operations with Florida Public Utilities in West Palm Beach, Florida. Mr. Thornton is Vice-Chairman of the Lancaster County Economic Development Corporation and Secretary of the Educational Foundation of the University of South Carolina at Lancaster. Mr. Thornton is a 30-year member of the National Association of Corrosion Engineers, and earned a B.S. degree from North Carolina State University in Raleigh.
Mr. Corbin serves as President and Chief Executive Officer of the Gas Authority. He has 30 years' experience in the natural gas industry. He joined the Gas Authority in 1988 as Director of Gas Operations, was promoted to Vice President of Rates and Gas Supply in 1989, and was named President and General Manager in August 1994, with the title of Chief Executive Officer added in 2004. Before joining the Gas Authority, Mr. Corbin worked for El Paso Natural Gas Company, the interstate pipeline serving California, Nevada, Arizona and parts of New Mexico and Texas, in the areas of Marketing, Planning and Gas Accounting. Mr. Corbin is active in various trade and industry organizations and for the past several years has served on the Board of Directors of both the American Public Gas Association and the Southern Gas Association. Mr. Corbin holds a B.B.A. in Accounting and an MBA from the University of Texas at El Paso.
Mr. Guarriello was named interim Chief Executive Officer of FMPA in September 2008. He has more than 30 years of experience in the utility industry. He is a Principal and Immediate Past President/Chief Executive Officer of R.W. Beck, and from 1998 through 2005, he was the President and Chief Executive Officer. Mr. Guarriello has experience providing services to joint action agencies, including playing a key role in the formation of FMPA. He has served as project manager and principal-in-charge for numerous power supply studies, bond financings and contractual analyses and negotiations, including those relating to joint ownership agreements and litigation support services for FMPA. Recent assignments include leading the development of FMPA's 2008 Integrated Resource Plan. Mr. Guarriello holds a bachelor's degree in electrical engineering from Polytechnic University, New York, and a master's degree in business administration from New York University. He is a registered Professional Engineer in the State of Florida.
Mr. McCutchen has been employed as the President and General Manager of TEAC since August 1, 1996. Prior to that time, he served as the Manager of the Gas Department of the City of Clarksville since 1988. He graduated from Austin Peay State University in 1976 with a Bachelor of Science degree in marketing. He has extensive experience in regulatory procedures, natural gas operations and risk management for gas utilities.


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Q: On first successful connection, the prompt asks for password on Ubuntu Core What password do I have to enter? I didn't setup any password.
I tried several different core versions and several core appliances such as https://ubuntu.com/appliance/adguardI have also tried and created a password to lock private key during the ssh-keygen process.
Nothing works.I can't login.
Any help would be appreciated.
Thank you.
These are my steps:
I'm following these instructions
https://ubuntu.com/download/raspberry-pi-core
These are my screenshots of the process


Serena Williams has a long record as a great tennis player and a poor sport.
have long pandered to her and preferred to ignore her poor sportsmanship.
"Serena Williams is right on women's treatment but wrong about Saturday"
and their consequences, on to an official who was powerless to reply."
Naomi Osaka, her much less experienced Japanese opponent (who's half-black).
This was not the first time that Serena Williams has behaved abusively at the US Open.
"her profanity-laced tirade against a lineswoman who called a foot fault against her."
"I swear to God I'll f*** take the ball and shove it down your f*** throat."
her with physical harm, yelling "I did not threaten to kill you. Are you serious?"
"Afterwards, she was unrepentant: "An apology from me? How many people yell at linespeople?
I see it happening all the time."
who apparently value fame, wealth, or US flag-waving above everything else.
But, in moments of adversity, the ugliness deep in her character may emerge.
The real story here should be that Naomi Osaka outplayed Serena Williams and deservedly won.
crowd for daring to defeat its heroine, Serena Williams (who appears above all criticism).
"Serena Williams i ...[text shortened]... e everything else.
displayed Serena Williams's petulant (to put it kindly) behavior.
I've got nothing personal against Serena Williams, but I really have a thing about petulant, bad losers. It's why I support Viswanathan Anand (who is pure class) over Magnus Carlsen.
The real story here should be that Naomi Osaka outplayed Serena Williams and deservedly won. Instead, Naomi Osaka felt obliged to apologize (almost) to the extremely partisan American crowd for daring to defeat its heroine, Serena Williams (who appears above all criticism).
Since when did you become an authority on the finer points of women's tennis? Or is this just another criticism by someone who sits on the sidelines?
The Duchess, with her fierce forehand and swooping backhand, is the Serena Williams of RHP.
More like a poaching doubles player...specialized in returning lobs.
Duchess is also an expert at ping pong, a beloved Chinese 'sport'.
I've got nothing personal against Serena Williams, but I really have a thing about petulant, bad losers.
It's why I support Viswanathan Anand (who is pure class) over Magnus Carlsen.
all the flag-waving Americans here vehemently denied that he could be guilty of cheating.
Armstrong had done nothing wrong and deserved to keep all the benefits of his cheating.
That shows how much American care about sportsmanship as opposed to winning at all costs.
The flag-waving US media have long been fawning over Serena Williams and ignoring her poor sportsmanship.
I expect most flag-waving Americans here to keep doing the same.
for being half-black in Japan.
said that, as a junior player in the MidWest, he often heard racist slurs from the white crowd.
Expecting to receive no sympathy from the US media, he seldom spoke about his experiences of racism.
commercial endorsements, but they all were for Asian markets, not in his native USA.
Naomi Osaka's not the first Asian woman to win a Grand Slam title.
Li Na (China) won two Grand Slam titles, rising to be ranked 2nd among women in the world.
She retired on account of a chronic knee injury.
Armstrong had done nothing wrong and deserved to keep all the benefits of ...[text shortened]... ing to be ranked 2nd among women in the world.
"Before Lance Armstrong (belatedly) confessed that he had cheated by using performance-enhancing drugs, all the flag-waving Americans here vehemently denied that he could be guilty of cheating.
"Even after he admitted it, several Americans here smugly asserted or implied that Lance Armstrong had done nothing wrong and deserved to keep all the benefits of his cheating. That shows how much American care about sportsmanship as opposed to winning at all costs."
China (officially the People's Republic of China (PRC)) conducted a state sanctioned doping programme on athletes in the 1980s and 1990s. The majority of revelations of Chinese doping have focused on swimmers. The doping programme has been explained as a by-product of the "open door" policy which saw the rapid expansion within China of modern cultural and technological exchanges with foreign countries.
"Even after he admitted it, several Americans here smugly asserted or implied that Lance Armstrong had done nothing wrong and deserved to keep all the benefits of h ...[text shortened]... id expansion within China of modern cultural and technological exchanges with foreign countries.
first universally denying and then widely condoning Lance Armstrong's flagrant cheating.
American cheating by claiming that other athletes in other countries have cheated too.
by condemning the non-Americans for cheating while excusing the Americans for cheating.
considerable coverage of past real or alleged Chinese athletes' usage of performance-enhancing drugs.
Evidently, this has significantly decreased from its peak (still clung to by Sinophobes) decades ago.
Some Chinese coaches or journalists have 'blown the whistle' on other Chinese coaches or athletes.
incentives and pressures to cheat, and some athletes or coaches yield to that temptation.
no proof of systematic state-organized cheating like in Russia, which has been condemned for it.
they may be ready to report other Chinese who break the same rules that they respect.
You can't be serious !!!!! 😛 .
Some sports person doing dumb stuff. What else is new?
I'm sure in The Guardian spoonfed world of Douchess69 this is Very Important News.
It reminds me of Whodey digging up random articles about what this or that celebrity said about such or other.
Duchess, I did like your initial post because I really dislike seeing people lionized routinely by the media who have personality flaws.
It's kind of like the Asian market embraced an Asian American who wasn't good enough to get the main endorsements in his own country -- not because he was bad, heed you, but becuase he was outshined by other Americans.
But even if your argument is right... IT doesn't really fully account for the ethno-nationalism that leads to Asians having an American who is Asian marketed at them because of their pride in his blood pedigree.
... Is it OK for Asians to be ehtno-nationalists?
Isn't Michael Chang just an American -- and his Asian heritage should be irrelevant?


Put Theory into Practice | 8th January 2010 | News | Byrne Bros.
Students would benefit from gaining work experience whilst studying as it gives them the opportunity to put theory into practice.
Although summer placements are one way of gaining experience, the short time involved doesn't always allow students to fulfil their full potential. Additionally, many companies prefer to have students on a year out placement.
The firm is able to evaluate the student in different positions over a longer period of time, and in turn, longer exposure allows the student a more balanced view to how the industry actually works. Some universities offer sandwich courses, with the second or third year spent working in the industry. However, if this is not the case, you can still suspend your studies for a year whilst working.
I was nominated for the Women in Property 2008 Student Awards scheme during my second year at university and one of the sponsors of the award offered me a year out work placement, which I accepted.
It proved very beneficial and very educational. I worked on site and in the office, which gave me a varied experience and an insight into the processes involved with construction projects. I was also very fortunate to be trusted with an important role, which came with a lot of responsibilities.
I am now left with valuable experience and skills which I can transfer to other jobs in the future. The experience has helped put the theories I learnt at university into perspective. I would strongly recommend taking a year out.
The benefits gained are much more important than increasing the overall time of your education. And, on graduation you are a step ahead of others.


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Written by Michele Brittany, Fanbase Press Editorials Manager
'The Resurrected #5:' Comic Book Review
……The year is 2037 and the world as we know it has changed dramatically. With all the colossal technical advancements of the age, the most significant came from Drexler Nanotech Corporation, who created a serum engineered to resurrect the dead. The ethical implications were widespread and the serum was ultimately banned the world over….
Writer/creator Christian Carnouche's concluding fifth issue of his dark, sci-fi thriller, The Resurrected (Carnouche Productions), will be out shortly and wraps up the story about Aboriginal-Australian detective Cain Duluth. For those who have been following my reviews and hopefully reading each issue, this series has followed Duluth's personal journey to come to terms with a tragedy that has haunted him since the apocalyptic disaster that occurred five years earlier, taking the lives of his wife and daughter; however, his story really began much earlier, with his conflicting feelings and identity with his Indigenous roots.
Without giving away plot spoilers, issue five ties up Duluth's storyline and many of the subplots. As with the prior issues, there are points that Carnouche works into the narrative. For example, one character has sacrificed "the many" for "the one" with deadly results. Duluth must wrestle with the desire to take justice into his own hands versus allowing justice to make things right. It's a case of two wrongs not making a right. As mentioned above, an overarching theme is the treatment of Indigenous people, which Carnouche ties in well with the message that scientific "advancements" should not equal playing god by tinkering with the natural order of life – birth, life, and death. There were a couple of narrative beats that felt as though their "pay off" could have been emphasized a bit more. For instance, Duluth learns of the catalyst that led his wife to an important discovery, which could have had more impact on his psyche but, instead, felt as though there was little time for him or the reader to digest. It seemed to get lost in the climatic scene. The slips were minor and honestly did not weaken Carnouche's storytelling nor Erica Schultz's (Bingo Love, RISE: Comics Against Bullying) editing skills.
Carnouche's creative team for visuals saw the return of artist Crizam Zamora (Vampirella, The Precinct) and colorist Salvatore Aiala (Z Nation, James Bond: Felix Leiter). Both delivered and complemented each other's skills in this issue. The textures, angles of panels, color choices, and highlights pulled the visuals together. For instance, the depictions of Pem in the establishing scene showed good use of space (a stark holding room) along with Pem himself. It is engaging and hooks the audience immediately. The flashback scene stands out with both the torn edges of the panels, as well as the light sepia tones, which lends to clearly delineating the scene from the rest of the action in the issue. The blurred technique is incorporated judiciously to emphasize a pivotal action moment, as well one character's point-of-view. And, although only glimpsed a few times, the cityscape is intriguing, and I wished I could have seen more of it. (The homage to Fritz Lang's silent 1927 film, Metropolis, is a nice Easter egg!). Letterer Cardinal Rae (Rose, Superman: The Coming of the Supermen) rounds out the team and, as usual, delivered concise and readable text that did not draw attention to itself and as required, blended with the rest of the visuals.
Lastly, a quick mention to Zamora and Anna-Maria Chernigovshaya who have delivered another fine portrait cover. Pem's depiction captures his character's intensity, and it was nicely done to have Duluth and Yindi reflected in the blade, the main characters in the issue. Also, the colors foreshadow events in the issue, as well as highlight each character.
As I have mentioned in my previous reviews, this is a well put together and engaging story. The inclusion of and giving voice to Aboriginal-Australian/Indigenous characters sets this narrative apart from other dark sci-fi stories out there. This is well worth the read and should be sought out by fans of the genre and/or are looking for international comic book options.
Creative Team: Christian Carnouche (writer/creator); Crizam Zamora (artist); Salvatore Aiala (colorist); Cardinal Rae (letterer); Erica Schultz (editor); Crizam Zamora and Anna-Maria Chernigovshaya (cover artists)
Publisher: Carnouche Productions
Click here to more information.
Published in: Comics
Michele Brittany, Fanbase Press Editorials Manager
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Windows 8: Good news for XAML developers
Windows development has been the prevue of CPP and managed developers (like C# and VB.Net). With the advent of Windows 8 metro applications, there's continued support for CPP and managed code, but there's new support for HTML5 developers for to write first-class, native applications.
This is exciting for Microsoft because it gives us opportunity to offer this large class of developers, who likely don't consider themselves Windows developers, a bridge to leverage their existing skills to build real Windows applications. But Microsoft is not the only winner.
CPP, .Net, and HTML5 developers has the opportunity of a lifetime. With more than 500M Windows 7 in market, and more than 1.2B Windows devices (lots of Windows XP still looming) – the opportunity for Windows 8 is eclipsed only by the opportunity for developers taking advantage of its Store.
XAML remains the UI solution for .Net, metro developers. But CPP developers can now leverage XAML, too. This is great news for CPP developers – and, subtly, even better news for the XAML story and its ubiquity throughout the Microsoft stack. (think: Embedded, Windows, Phone, more…)
Like myself, many developers have aligned their careers with the Microsoft stack. It has paid off with the pleasure of Visual Studio, the depth of the .Net framework, the general appeal of the platform, and some pain points that prove nobody's perfect. Nonetheless, most of us are paying our bills.
Many of those developers (most?) have discovered, learned, and come to love how simple and robust XAML is for declaring a UI. Many months have been invested. Of those developers, is XAML sticking? I mean, you love XAML, but is all this new choice changing Microsoft development?
Naturally, there is no way to measure this question. What I do know, is that when I speak before conferences, user groups, and students, XAML remains a strong topic – maybe it's because I am always talking about XAML. Maybe because it is freaking awesome. But even online (like on StackOverflow) XAML topics bloom in volume and consumption.
MSDN has created forums for each of the Metro technologies (CPP, .Net, and HTML5), giving our developers a place to go and find direction and help. Especially in these early stages, some very important product members roam those halls. Still, these forums are very active. Take a look:
These numbers don't tell us anything real – but they suggest things. Look at the dominance of XAML. It's just what we would have expected – and perhaps what you would have wanted.
Managed XAML is more then the rest combined – even including Direct3D forums. But XAML (Managed & CPP) holds the lion's share of more than 75%.
Naturally, we hope the HTML5 numbers will grow. We hope that our family of Microsoft developers will continue to build applications with the skills that have created their careers. Managed or unmanaged, use the skills you have to build amazing Windows 8 metro applications.
But, we also hope a new breed of developers will leverage these opportunities, too – writing real, quality Windows application in the Metro environment. Should an influx occur, it makes everyone a winner – so don't lament "back when XAML dominated". The future of the platform will require growth in the community and ecosystem. Yes, these are the golden years for XAML developers. But there's room at the table for more seats. And sharing doesn't mean losing.
Forum activity isn't scientific, right? And, today's metrics don't imply tomorrow's. But it's fun to consider the lay of the land and consider what's to come. With recent announcements about cool innovations in the next Blend for XAML, developers like me (C#/XAML) have lots to look forward to.
Labels: Metro, XAML


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Der Neuland-Park, auch Neulandpark, ist eine Parkanlage in Leverkusen. Er entstand im Zuge einer Altlastbeseitigung auf der ehemaligen Siedlung Dhünnaue und wurde 2005 mit der Landesgartenschau eröffnet.

Lage
Der Neuland-Park liegt in Wiesdorf, einem Stadtteil im Westen von Leverkusen und am Ostufer des Rheins. Die Parkanlage kann über die A 1 und A 59 erreicht werden. Das Gelände des Parks liegt direkt am Autobahnkreuz Leverkusen-West. Mit den öffentlichen Verkehrsmitteln ist die Parkanlage über die Bahnhöfe Leverkusen Mitte und Opladen erreichbar.

Geschichte
Die 25 Hektar große Fläche, worauf heute die Parkanlage liegt, war zwischen 1923 und Ende der 1940er eine Werksdeponie der Holding-Gesellschaft Bayer. Auf der Anlage wurden hausmüllähnliche Abfälle, Chemierückstände sowie Bauschutt abgelagert, sodass heute etwa drei Millionen Tonnen Müll auf dem Gelände lagern und die durchschnittliche Mächtigkeit der Deponie etwa acht Meter und maximal zwölf Meter beträgt. Seit den 1950er Jahren wurde die Wohnungsanlage Dhünnaue dort gebaut. Zur selben Zeit wurden der Bayer-Kanuclub und eine Gastronomie auf dem Gelände errichtet sowie die A 1 gebaut. Im Jahr 1985 rückte das Gelände durch eine Umweltverträglichkeitsprüfung im Rahmen eines Bebauungsplanes in die Öffentlichkeit. Dabei ergab die Gefährdungsabschätzung, dass die dortigen Altlasten durch ein Dichtungssystem gesichert werden müssten, welches den Kontakt zwischen Mensch und Boden verhindern muss, sowie das Eindringen von Regenwasser in den Altlastkörper unterbindet und den unkontrollierten Austritt belasteter Bodenluft aus den Ablagerungen verhindert. Um die Sicherung der Altlast durchführen zu können, mussten die gesamte Wohnbebauung abgerissen und die Menschen umgesiedelt werden. Ebenso mussten andere Gebäude, Straßen und Leitungen für den Abdichtungsbau weichen.

Der Bau der Abdichtung wurde 1995 begonnen und nach fünf Jahren vollendet. Dabei wurde eine 3,6 Kilometer lange und circa 40 Meter tiefe Sperrwand zum Rhein als Grundwasserbarriere erbaut. Die 110 Millionen Euro Kosten des Altlastschutzes wurden von der Bayer AG zu 75 Prozent und von der Stadt Leverkusen zu 25 Prozent getragen.

Leverkusen bewarb sich mit der Anlage für die Landesgartenschau 2005 mit dem Plan, aus dem abgesicherten Altlastgebiet Dhünnaue-Mitte einen Park am Rhein zu bauen. Wegen der Gegebenheiten durften jedoch keine Veränderung der Geländemodellierung vorgenommen, keine tief wurzelnden Bäume eingepflanzt werden und keine künstliche Wasserflächen auf dem Gelände entstehen. Leverkusen setzte sich mit den Planungen durch, wobei 37 Büros ihre Entwürfe vorlegten. Als Sieger ging das Büro Brosk aus Essen hervor, dessen Entwurf "von Gegensätzen" lebe. So ist "(s)trenger, fast geometrischer Landschaftsarchitektur […] eine natürliche, harmonische Parkgestaltung gegenüber[gestellt und erinnert] (d)urch den Kontrast von Natürlichkeit und Künstlichkeit […] an die ehemalige Deponie".

Ende 2004 wurden etwa 150.000 Quadratmeter Rasenflächen auf das Gelände gesät. Zudem wurden knapp 100.000 Bodendecker und Stauden, 85.000 Blumen, 22.000 Sträucher sowie mehr als 1000 Bäume und Solitärgehölze auf der heutigen Parkanlage eingepflanzt. Am 16. April 2005 wurde die Landesgartenschau unter dem Motto Neuland entdecken eröffnet. Seit dem Ende der Gartenschau kann die Parkanlage frei begangen werden. Die Parkanlage wird sowohl von der Stadt Leverkusen, als auch von einer ehrenamtlichen Gemeinschaft, die sich 2005 gründete, gepflegt.

Anlagen
Der 20 Hektar große Neuland-Park verfügt über zahlreiche Haus- und Themengärten. Im Bumerang werden beispielsweise verschiedene Gartentypen ausgestellt.

Es gibt fünf große Spiel- und Sportschwerpunkte im Park: So befindet sich am ehemaligen Zugang Ost, unter der Autobahnbrücke, eine große Skateranlage. Unmittelbar daneben ist ein Liegewiesenbereich mit Spielgeräten. Am ehemaligen Eingang Mitte befindet sich ein Wasserspielort mit Fontänenhüpfern. Im Parkkernstück, dem Bumerang, befinden sich zwölf Spielstationen. Daneben ist ein Sandspielplatz mit Klettergärten und Rutschen. Im Süden des Parks befindet sich eine Minigolfanlage.

Im Park sind zur Landesgartenschau auch zahlreiche neue Brückenbauwerke entstanden: Eine führt dabei über die Rheinallee, eine überquert die Dhünn und eine weitere führt über die Themengärten. Diese drei Brücken sind in ihrer Aufmachung aufeinander abgestimmt. Eine weitere Brücke, die Neulandbrücke, führt über den Bumerangweg und wird auf der Rheinallee fortgesetzt. Sie befindet sich 500 Meter von der Autobahnbrücke A 1 entfernt, ist 160 Meter lang und 100 Tonnen schwer.

Die Forumbrücke dient als Bindeglied zwischen Stadt und dem Park. Sie überspannt das Dhünntal mit einer Länge von etwa 45 Metern. Die Wackelbrücke, eine Hängebrücke, überspannt den Fluss Dhünn auf einer Länge von insgesamt 54 Meter und führt den Bogen des unteren Bumerangweges bis zum Weg auf der Nordseite der Dhünn fort. Sie besteht aus einem Holzlaufsteg aus Lärchenholzsprossen und einem 1,6 Zentimeter dicken Polyester-Herkules-Seil mit Stahleinlage. Die Brücke ist weitestgehend demontierbar.

Der 150 Meter lange, stetig ansteigende St.-Antonius-Steg verbindet den Platz an der St.-Antonius-Kirche mit der neuen Uferpromenade am Rhein. Es ist geplant, einen Aufzug in den Pylon, der den Steg stützenfrei hält, einzubauen, der damit an dieser Stelle eine barrierefreie Überbrückung der Rheinallee ermöglichen würde.

Ein weiteres, dort befindliches Bauwerk, ist die SparkassenArena, die vormals den Namen Bühne der Ruhe trug. Dort finden 1200 Personen Platz und es werden kleinere und mittlere Veranstaltungen wie Konzerte, Lesungen, Theater und Kleinkunst abgehalten.

Es befinden sich im Neuland-Park zahlreiche Gastronomien.

Weblinks

 Offizielle Website
 Lageplan (PDF)

Einzelnachweise

Parkanlage in Leverkusen
Bauwerk in Leverkusen
Erbaut in den 2000er Jahren
Parkanlage in Europa

redpajama_set_name: RedPajamaWikipedia


text:
Inauguration Security
Inauguration Preparations Impact Businesses Inside Security Perimeter
In Georgetown, hospitality businesses always bustle during a presidential inauguration. Even during a pandemic, visitors are expected to come.
By Jackie Bensen	• Published January 13, 2021 • Updated on January 14, 2021 at 6:04 am
Some businesses located inside the security perimeter for next Wednesday's inauguration are already making operational changes. Those changes come as a local group calls on hotels in the area to close for several days, rather than host those who could be intent on causing more disruption and violence.
"We're telling our businesses they should have their employees come and get what they need to work from home for the next week or so," Leona Agouridis, the executive director of Golden Triangle Business Improvement District, said.
Agouridis noted that much of its member businesses, which include some hotels, are located within the inauguration security perimeter.
"Many buildings are boarding up, and there will more than likely be additional buildings boarding up in the next few days," Agouridis said.
capitol riot Jan 13
DC Inauguration Updates: Police Chief Says MPD Facing 'Major Security Threats'
National Special Security Event Jan 13
What DC's Expanded Special Security Designation Means for Safety in the District
"We have not heard of any of our restaurants who are planning to be closed. There is concern that the Mayor may call for a curfew again if there's unrest," Joe Sternlieb, CEO of the Georgetown Business Improvement District, said.
Martin's Tavern in Georgetown, for instance, will host guests, as it has for dozens of inaugurations. However, it will be the first inauguration where they can only dine outside, due to the District's pandemic restrictions.
"I know it's going to be a huge hurdle, but I think that people will still want to come and be here. You know, just wear your mask and we're going to take care of you," William A. Martin, Jr., of Martin's Tavern, said.
The groups Black Lives Matter DC and ShutDown DC are asking hotels in the area to follow the lead of Airbnb and cancel bookings for Jan. 15 through Jan. 21, while paying employees.
News4's Shomari Stone reports, walking alongside military vehicles and a new 7-foot fence.
"We've seen in November and December that these hotels are hubs for fascist activity, they're hubs that people launch violent attacks out of and the hotels in town unfortunately don't seem to care about that," one activist, Andrew Sobey, said.
The Hilton, Hyatt and Marriott hotel chains all said their properties in the D.C. area will remain open.
Leaders from D.C., Maryland and Virginia have warned people to stay out of the restricted area in the District at the time of the Inauguration.
Inauguration SecurityInauguration Daybusinesses


text:
Site Home News ArchiveSuper Leeds: The Second Title – Clough, Revie and a Paradise Lost
Super Leeds: The Second Title – Clough, Revie and a Paradise Lost
06 Jan 2022 10:29 am, by YorkshireSquare
1972 was the year when it all came together for Don Revie and Leeds United, when the legend of Super Leeds was born and for a while blotted out the memory of Dirty Leeds.
During the spring, Revie's Leeds played some truly remarkable football. It was fitting that they should commemorate the period by winning the FA Cup for the only time in the club's history. It was just as fitting that Leeds chose the Centenary Cup final to finally lift the trophy. It would have been even better if they had got the draw they needed a couple of days later to have added the league title. But wasn't that just like Revie's Leeds, not being able to celebrate their Cup win as they sought in vain for the next peak.
Sunderland nearly did for Revie a year later, but he returned to lead United to their second league title and more plaudits. Revie left for the England job in 1974 and Leeds would never be the same again, though they almost won the European Cup under Jimmy Armfield. Eight years after Revie left Elland Road, the money had gone, Leeds were in the Second Division and Revie was consigned to history as the man who betrayed English football.
That was the popular version of events but for those who love Leeds there is another version, the tale of a man and a club that were cheated of glory again and again and again, the story of the Fall of the Revie Empire and a legacy squandered. But there were also good times, very, very good times and nothing can destroy those memories.
Dave Tomlinson, the man behind the mightyleeds.co.uk website which is dedicated to providing the definitive history of Leeds United, just can't stop writing. A prolific writer about Leeds United has just published his seventh book about the club: Super Leeds: The Second Title – Clough, Revie and a Paradise Lost. This new book picks up where Dirty Leeds: The First Title ended, in 1969 after Don Revie's Leeds won their first league championship.
The book is available on Amazon with his others, Leeds United: A History, Billy Bremner: 50 Defining Fixtures, Leeds, Money and Misery Me, Dirty Leeds: The First Title, Bielsa's Leeds: Redemption and Leeds United in the 21st Century.
All drama over Cody's loan but Forshaw signs new deal
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Sunday 16th January 2.00pm | London Stadium Patrick Bamford and Rodrigo face a race against time to be available Sunday, as Leeds face their second visit in a week to the London Stadium, home of...
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For months now, you've been aware that your vehicle was falling apart. Nevertheless, it's not easier to accept that it's finally time to sell it. Here's the truth, though: it's old, it's beat up, and it's time to say goodbye. The problem, though, is that very few people are interested in that type of car.
After putting an ad up on the internet (which involved taking pictures and writing a description), you've responded to emails and texts and even shown it to a few people. It's been a ton of work. And, in the end, you aren't any closer to actually selling it.
There's good news, though. When your car is finally dead, and you're in need of a newer vehicle that's driveable, guess what? Junk Car Traders can help. We can pay major cash for your vehicle, and you can go get a newer car right away. Call us at 888-492-3706 for more info.
It's not easy to sell a vehicle that's basically falling apart. But, it's not impossible either. Why? Because Junk Car Traders is prepared to pay you major cash regardless of the condition of your car. All we need is a little info, and we can quote you ap rice over the phone.
There's not exactly a robust public transportation system here in Spring Hill, is there? You'll need a reliable vehicle if you want to get from here to there. That's why you need to get rid of your clunker and replace it with a reliable car.
Are you in Alexander Farms, Baker Springs, or Bellshire? Wherever you happen to live in Spring Hill, guess what? We can tow your junk car away for free and pay you top dollar for it!
A lot of junk yards out there will try to pay you with a check. Not us, though! When you work with Junk Car Traders, you always get cash.
Ready to finally say goodbye to your old clunker of a vehicle? Call Junk Car Traders today at 888-492-3706 and get top dollar for your junk car!


text:
Five realistic January signings for Newcastle
by Harry Kettle
A new era is upon us as Newcastle United are now one of the richest clubs in world football following their Saudi-led takeover.
The Magpies have spent many, many years on the outside looking in at the English elite and now, it seems like it's their time to shine once again. Their loyal fanbase has waited patiently for their chance to feature in the spotlight and the January transfer window will offer up a chance for supporters to get an idea of just how serious these new owners are.
Today, we're going to run through a few potential "impact" signings that Newcastle could pursue in the new year.
While there's been a slight resurgence in the career trajectory of Dele Alli in the last few months it doesn't appear as if he's destined to be the guiding light Tottenham fans want him to be. Instead, a change of pace may give his career the injection of life it needs – and something tells us Newcastle would be more than happy to take a risk given their league position.
Everyone saw what Jesse Lingard was able to do when given the chance to shine at West Ham last season and you can bet the Geordies will expect the same kind of momentum shift if he heads up north in January. J-Lingz knows how to turn it on when it matters the most and this could be exactly what he needs to vault back into contention for England's World Cup squad.
There have been rumours floating around that Newcastle want to be really emphatic with whatever business they do in the transfer window and if that's true, there's no better place to start than Ousmane Dembele. The Barcelona star hasn't caught fire in the way many expected and even though this could go south in a hurry, the fans would have a lot of fun with a signing like this.
Anthony Martial isn't exactly banging at the door in the race to play a role in Manchester United's starting XI. The Frenchman simply cannot compete with some of the elite forwards Ole has at his disposal and in a lot of ways, that's probably the best thing for him.
Newcastle could stick him alongside Allan Saint-Maximin and from there, we'd expect to see some magic happen.
Donny van de Beek
Newcastle desperately need someone to dictate the pace of the midfield and Donny van de Beek must be gagging to show everyone what he can do. Ole Gunnar Solskjaer quite clearly isn't a fan of his work and has left him to rot on the bench at Old Trafford, but at St James' Park, he'd be given the freedom of the city to finally get that chip off of his shoulder.
Tags Anthony MartialDele Allidonny van de beekJesse LingardNewcastle UnitedOusmane Dembele


text:
A Children's Book Brings Keith Haring's Work Alive to a New Generation
Eduardo Gion Espejo-Saavedra, Oct 26, 2017
Keith Haring's young sister, Kay Haring, opens up about her brother's childhood and adolescence, his first works and what influenced him as an artist. She is helping to keep Haring's legacy alive via a colorful children's book that underline's the artist determination to never give up on his passion and to perceiver no matter what.
Q: How was Keith Haring as a child?
A: Keith was creative, curious and friendly in a quiet way. And he was always drawing. Mostly, though, he was your typical older brother. He liked to organize events in our backyard. We created games and announced a "penny fair" with a flyer and invited all the neighborhood kids. We did everything; handed out prizes, sold lemonade, had a pet show, ran a penny toss and made a profit on our games!
Q: At what age did Haring begin to draw?
A: I don't know the exact age however, it was from the time he was a toddler. My dad would draw with us, usually sitting around the kitchen table. He'd draw something, then hand it to us and have us add to it. We spent lots of time that way, creating characters or stories with pictures or just doodling. Keith continued to draw and was interested in art from the time he was a young teenager and by high school he was known as one of the artsy students. He was interested in making art more than anything else in school.
Q: Was he inspired by the cartoons he saw on television?
A: I'm sure he was inspired by cartoons, but not in a specific way I can detail by example. Walt Disney was definitely an influence. Our parents would read Disney illustrated stories to us and we had many books by Dr. Seuss.
Q: What were your inspirations at that time?
A: I liked to draw when I was a teen, too. For me, it was a good way to spend quiet time by myself. I loved nature and hiking, camping, being outside, so I would draw trees. Big, beautiful, old maple trees in full bloom, like in our neighborhood. I never painted, but used pencil, pen, sometimes oil crayons. I also copied portraits of models I found in magazines but could never could get the faces to look realistic and that's when my interests turned more to writing and sports.
Q: What was Haring like when he was a teenager?
A: As a teenager Keith would spend hours and hours in his room drawing. He liked making paintings, drawing with markers, anything with art. He drew animal characters like the "pigs from Pennsylvania" and he started drawing detailed pen and ink or pencil drawings, often with rows and rows of people and every space on the paper covered.
Q: Haring had his first exhibition in Pittsburgh when he was 19 years old. Do you remember that exhibit?
The cover of Kay Haring's book
A: I did not attend his exhibition in Pittsburgh. I know it was exciting for him and he felt quite important about getting a chance to show his work. Once Keith got to New York City and had exhibitions, he always invited the whole family and we attended quite often. It was a different world for us to participate in, however Keith was gracious and introduced us to his friends and the celebrities that had started to take note of his work. The first big show in New York I went to was exciting with many, many people on opening night and everyone exclaiming that Keith's work was so different, vibrant and fun, yet also had meaning. They raved about how hard he worked to paint the walls and hang as much work as the space could hold. Keith was so humble and accommodating – he signed autographs and talked to people all night long. He never turned anyone away. I try to capture the diversity and intensity of that memory in a scene in the book.
Q: Haring loved children and drew a lot of inspiration from them.
A: Keith loved the creativity that children showed and their willingness to try new ways to make art. He would say that children still have an active imagination that is not squashed by responsibilities we take on as we grow into adulthood. He felt adults were too occupied with meaningless competition in the corporate world and had lost their ability to be open to new ways of thinking, to new ways of looking at art. Keith started doing art projects with children when we were teenagers. Our church youth group volunteered at an after-school program at an inner-city church when we were in high school. One of our parents would drive us into downtown Reading, Pa. and we'd hang out with the kids and help them with arts and crafts. He was always encouraging them and joking and having a good time, bringing the best out in the kids.
Q: You have released a book of drawings with stories based on your brother when he was young. Tell us why you wanted to do the book?
A: I always wanted to tell my brother's story emphasizing his generous nature. Keith was an extraordinary person and gave away countless drawings and an inordinate amount of his time and money. He was always drawing when he was out in public and it was not unusual for dinner guests or complete strangers to go home with an impromptu drawing on their clothing, a napkin, or a spare piece of paper. Keith used his work as a tool for organizations to raise money, to raise awareness and to disrupt society norms. My book tells the story of how Keith kept drawing, no matter who questioned what he was doing or why. I hope the passion he had, as an artist is apparent to the kids who read it. I also want to highlight his philanthropy and hope that it inspires children to give back in their own community. To honor his spirit, I am donating 25% of my proceeds to a youth organization in our family hometown. This project took many years to execute. Finding the right illustrator who could incorporate Keith's artwork and capture his vibrant personality was no small task. Robert Neubecker was an illustrator in New York City in the 80's and he understood the feel on the streets at that time and remembered seeing Keith's work as it permeated the city. He was a great partner to bring my story to life. As an example, Robert used a photograph taken by me in 2008 of a replicate of the mural Keith painted in 1982 in the Bowery, NYC, then expertly illustrated the scene of Keith being admonished by an officer for painting the mural without permission. Just like Keith, I want to inspire kids to dream big, work hard, give back!
Kay Haring presenting her children book in Allentown
Q: How would you explain to a child who your brother was, and all the symbols of his drawings?
A: The best way to explain Keith's work is to see it. Children, and adults, relate to Keith's work because they can interpret it. They see things in it. And that's exactly what Keith wanted. His drive to share art with people, to paint and draw where all people could experience it, is demonstrated in my book by the murals he did on the streets in New York and in the subway and the six-story building he painted at the Necker Children's Hospital in Paris, France. He did these, as he often did, for no compensation and in the early years, he painted without permission and often was fined or criticized. But that didn't stop him. I want children to be inspired by his determination and his hard work. No matter what opposition he faced, he kept drawing, because he knew in his heart it was good for people to have a closer relationship to art in museums and to interact with all types of art in the world around us.
Q: What did Haring want to show with his drawings when he was growing up?
A: I think he was exploring, trying to find his voice. Even then, he had a big heart and great empathy for people he felt were not being treated fairly. His drawings during high school were part fun and comical, and some were more an experimentation with lines. Then there were drawings like the one from 8th grade ("Hippies", 1971) where he was expressing his sentiment for an alternate lifestyle that exuded love and tolerance and rebellion.
Q: Haring moved to New York to study at an arts school in the 1980s. Can you talk a bit about that choice.
A: Keith was enthusiastic to immerse himself in the New York City art scene in the 80's. He knew he had to go to New York after only being in Pittsburgh for a year. He arrived at a magical time, too, when so many young artists and creative geniuses had converged in the city. He was pleased to enroll in an art school that explored many different genres and mediums and since it was a legitimate art school, it also kept my parents happy. They were quite sure that no decent young man could make a living by being an artist and an education was necessary.
Eduardo Gion Espejo-Saavedra
Filmmaker, Journalist and documentary.
For several years working as an assistant director of short films and feature films in 35mm. His documentaries have been shown at festivals Festival de Cinema de Sitges, New York Film Festival, Portland Underground Film Festival, San Francisco Film Festival, and others.
Worked at events "080" in Barcelona, collaborating with photographers Miguel Villalobos for the production of the tribute to Thierry Mugler.
Writes and produces reports for magazines "Candy Magazine" to Luis Venegas, Also works for the magazine "Paraiso Magazine", and Features Editor at ODDA Magazine.
Filmmaker, Journalist and documentary. For several years working as an assistant director of short films and feature films in 35mm. His documentaries have been shown at festivals Festival de Cinema de Sitges, New York Film Festival, Portland Underground Film Festival, San Francisco Film Festival, and others. Worked at events "080" in Barcelona, collaborating with photographers Miguel Villalobos for the production of the tribute to Thierry Mugler. Writes and produces reports for magazines "Candy Magazine" to Luis Venegas, Also works for the magazine "Paraiso Magazine", and Features Editor at ODDA Magazine.


text:
package com.learning.ads.bitmanipulation;

/**
 * Resources used:
 * http://www.geeksforgeeks.org/?p=1176
 * @author Arun Rahul
 *
 */
public class SetBitCounter {

	/**
	 * Shift the bits to right, one per iteration. In each iteration, if we do bitwise & with 1
	 * all the bits will be zero except the rightmost bit, which yields to 1 if it is 1
	 * in the shifted integer or 0 if it is 0 in the shifted integer.
	 *
	 * Complexity : O(n) where n = size of input data type (typically 32 for int, 64 for long)
	 *
	 * @param n
	 * @return number of set bits
	 */
	public int count(int n) {
		int count = 0;
		while (n != 0) {
			count += n & 1;
			n >>= 1;
		}
		return count;
	}

	/**
	 * Subtraction of 1 from a number toggles all the bits (from right to left) till the rightmost set bit(including the righmost set bit).
	 * So if we subtract a number by 1 and do bitwise & with itself (n & (n-1)), we unset the rightmost set bit.
	 * If we do n & (n-1) in a loop and count the no of times loop executes we get the set bit count.
	 * Beauty of the this solution is number of times it loops is equal to the number of set bits in a given integer.
	 *
	 * Complexity : O(v) where v = number of set bits
	 *
	 * @param n
	 * @return number of set bits
	 */
	public int BrianKernighanCounter(int n) {
		int count = 0;
		while (n != 0) {
			n &= (n - 1);
			count++;
		}
		return count;
	}

	/**
	 * For each set of four bits(16 permutations) we are storing the number of set bits.
	 * Then querying that store for each right most four bits.
	 * Complexity : O(n/4) where n = size of input data type (typically 32 for int, 64 for long)
	 * @param n
	 * @return
	 */
	public int lookupTableCounter(int n) {
		int[] lookupTable = { 0, 1, 1, 2, 1, 2, 2, 3, 1, 2, 2, 3, 2, 3, 3, 4 };
		int count = 0;
		while (n != 0) {
			count += lookupTable[n & 0xF];
			n >>= 4;
		}
		return count;
	}

	public static void main(String[] args) {
		SetBitCounter sbCounter = new SetBitCounter();
		System.out.println(sbCounter.lookupTableCounter(50));
	}

}

redpajama_set_name: RedPajamaGithub


Handheld, easy to use, and not your cellphone. Ethically harvested jute fiber brush designed especially to slough off dead dry skin and topical toxicity.
If your daily routine involves commuting to work, sitting at a desk, or just not moving around as much as you would like, then a daily dry brush may be for you. Five minutes of brushing a day can help to renew the outer skin and promote blood flow to the skin's deeper layers, resulting in detoxification, rejuvenation, and a healthy glow.
Dry brushing is known to stimulate the lymphatic system and can promote detoxification, an important part of maintaining our health and vitality. Because our skin is our largest organ and the body's primary system of elimination, it is a necessary component of the detox process.


text:
UNILORIN Teaching Hospital, Mother celebrate birth of first test-tube baby
Mrs. Ramat Jamiu's joy knew no bounds when she was delivered of a bouncing baby boy in Ilorin, the capital of Kwara State. Her bundle of joy had arrived after nine tormenting years of childlessness and anxiety.
The nursing mother had cause to be grateful to the doctors at the University of Ilorin Teaching Hospital, whose expertise had ensured the safe delivery in the first place.
Jamiu's baby is the product of the hospital's first successful attempt at In-Vitro Fertilisation. With this feat, the UITH officially joins the list of teaching hospitals that have undergone this medical procedure in the country. The others are the Lagos University Teaching Hospital, Idi-Araba, Lagos; Obafemi Awolowo University Teaching Hospital, Ile-Ife, Osun State, and the University College Hospital, Ibadan , Oyo State.
In an interview with our correspondent on Friday, Jamiu admitted that initially she had refused to undergo the treatment. Eventually, she decided to give it a try after the doctors told her that IVF was her only chance of having a baby of her own – husband, a professor of Islamic and Arabic Studies at the Kwara State University, encouraged her, she noted.
The 'brand new' nursing mother said she had visited several private hospitals in Kano, Abuja and Lagos – in search of a solution to her childlessness and had spent a lot of money, but failed to achieve any positive result until her husband advised her to try a teaching hospital.
She said, "It is a shameful experience not to have a baby after several years of marriage. But thank God, I am happy now that I have a baby of my own. I have been to hospitals across the country. I spent so much money, but in vain. Eventually God answered my prayer and things worked well for me at UITH. For the couples who are having difficulty in child birth, they should know that God is capable of giving them a child. When God says your time has come, nothing will stop it."
Still relishing the arrival of her baby, Jamiu urged Nigerians to have more faith in the public healthcare system. She advised fertility-challenged couples to take advantage of the benefits of modern medicine to solve their problems.
She said there was no reason for Nigerians to seek medical treatment abroad since the local hospitals were capable of handling their cases at cheaper costs.
So far, over five million babies have been born, via IVF, in the world since the birth of the first test tube baby, Louise Brown, in a London Hospital in 1978. Also, an estimated 2000 babies have been born through the same procedure in Nigeria.
The consultant obstetrician and gynaecologist at the UITH, Dr. Lukman Omotayo, said Jamiu was managed by the hospital for about one year before she had the baby through a Caesarian Section last Friday.
Omokanye said, "Infertility in marriage is not just for the woman; both the husband and the wife must be involved to achieve any form of success. That is what happened in this case; we had her husband cooperation all the way."
He said that after several consultations with the woman and her husband and every possible case of gynaecological deformity had been ruled out, the hospital had decided to try IVF.
"Fortunately we found out that the husband's sperm, in spite of his age, could fertilise his wife's eggs and that she also had viable eggs that could be fertilised by sperm. So, we were expecting a fruitful result. The procedure is to get fertilisable eggs from her. It took us one month.
"First, she was down-regulated with a drug called Suprefact® for 14 days. We prepared her for eggs collection and subsequently we did micro epididymal sperm aspiration to obtain sperm from the spouse to fertilise her eggs through a procedure called intracytoplasmic Sperm Injection.
"We injected the sperm into each egg. This was then incubated for 72 hours and confirmed evidence of fertilisation. After 72 hours, it became an embryo. This was later transferred into her womb. That is what eventually developed into pregnancy. Pregnancy was confirmed after two weeks of transfer into the womb."
Omotayo said that prior to delivery, Jamiu had been coming to the clinic every two weeks to ensure that the baby was fine because, according to him, the pregnancy was very special.
He said that the pregnancy was uneventful, meaning that there was no complication, apart from the conventional challenges of pregnancy, such as abdominal discomfort and occasional body weakness.
Omotayo said , "We confirmed that she was carrying a baby boy after 18 weeks. She was meant to deliver on August 16, but this kind of special baby could not be allowed to go through the stress of labour. Another thing about this pregnancy is that the baby was coming as a breech (a baby comes with the feet as opposed to the head). However, there were no hitches during delivery. He weighed 3.25kg. This is a memorable day in the history of UITH as the centre also witnessed the inauguration of several projects."
Also, the UITH Chief Medical Director, Prof. Abdulwaheed Olatinwo, described the development as another major breakthrough recorded by the institution in its quest for medical advancement.
He said, "I am very happy for the family and UITH. We are happy that we were able to do this. For a very long time, we kept our competence and capability in assisted reproductive technology low so that there would not be much noise.
"This is the beginning of good things to come. I said with prayers and the support of people, by the grace of God, before the end of the year, we should have the first baby through laboratory procedure."
Olatinwo said the UITH was capable of assisting more mothers in Kwara State and beyond to achieve conception. He added that the hospital had also bought some modern medical equipment for this purpose.
Posted by Omo Franca at 10:46 AM 2 comments:
UNILORIN Teaching Hospital, Mother celebrate birth...


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There are calls to end the semi-annual practice of putting our clocks backwards and forwards an hour. It is done by forwarding clocks by one hour in the spring so that evening daylight lasts an hour longer and then putting them back in the autumn. This is done in many parts of the world and is called Daylight Saving Time (DST). Scientists are questioning the value of tinkering with time. They say changing the clocks could actually be harmful to our health and increase energy costs. The States of California and Massachusetts in the USA are considering unilaterally abandoning DST. Lawmakers there feel it has no relevance today when we have electric lights and people work around the clock.
Those in support of DST argue that it saves energy because lights are turned on later. They argue it promotes outdoor leisure activities in the summer evening, and is therefore good for physical and psychological health. They also say it reduces traffic accidents and crime. People who tend to support DST are city workers, retail businesses, outdoor sports enthusiasts and businesses, tour operators, and others who benefit from increased light during the evening in summer. Opponents say it increases energy costs and causes health risks. The incidence of heart attacks and strokes can increase due to changes in the circadian cycle (our body clock). With less rest, people make more mistakes, so accidents increase.


text:
Jacob Melchior van Herck or Jacobus Melchior van Herck (active in Antwerp 1691–1735) was a Flemish still life painter active in Antwerp.  He is principally known for his flower and fruit still lifes.  He collaborated with figure painters in the creation of allegorical and mythological scenes with an important still life element.

Life
Little is known about the life of Jacob Melchior van Herck.  His birth place and birth date are unknown.  He was registered in the guild year 1691-1692 at the Antwerp Guild of Saint Luke as an apprentice of Gaspar Peeter Verbruggen the Younger, a leading still life painter in Antwerp. Gaspar Peeter Verbruggen the Younger was also his half-brother or possibly, his brother-in-law.

In the guild year 1694-1695 van Herck was registered as a master in the Antwerp Guild.  In 1720 he became a deacon of the Guild, a position which he held for two years.  He became a deacon again in 1734 and 1735.  He is last mentioned in the records of the Guild in 1735.

Cornelis Moniaert was registered as his apprentice in the guild year 1698-1699.

It is not clear where or when he died but is must have been in or after 1735.

Work

Jacob Melchior van Herck was a painter of flower and fruit still lifes.  He regularly collaborated with figure painters in the creation of allegorical and mythological scenes, which incorporated important still life elements.  His collaborators included François Liberti and possibly, Peter Ykens.  Several of these collaborations feature putti in an outdoor setting or allegorical figures.  He also collaborated on portraits such as the Portrait of Maria Luisa of Savoy (At Christie's, 13 December 2002, London, Lot 262). The portrait was likely painted by François Liberti while van Herck took care of the still life elements.

The  compositions and motifs of van Herck were closely related to the opulent flower still lifes of his master Gaspar Peeter Verbruggen the Younger.  His work is also regularly mixed up with that of his master's father Gaspar Peeter Verbruggen the Elder.

References

External links

Flemish Baroque painters
Flemish still life painters
Flower artists
Painters from Antwerp


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