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UPDATE: Chilliwack stabbing victims were innocent bystanders trying to help: witness
IHIT says no one in custody and public is not at risk after July 7 multiple stabbings
The girlfriend of one of the men killed in a brazen downtown Chilliwack stabbing on July 7 says he was just trying to help when he was attacked by a group of men.
"I was jumped by three girls, and while that was happening Steve was stabbed," said the woman, who asked not to be named because she is concerned about the fact that police had no one in custody five days after the incident.
The woman said she and her boyfriend, Steven Drage, saw what they thought was her daughter being chased by a group in the Empress parking lot downtown. The two ran out of their apartment to help, but instead the group turned on them, she said.
"I thought my daughter was being attacked, that's why Steven and I went out," she told The Progress adding that's when one girl attacked her after which two others joined in. "When I turned around he was surrounded and everything else was a blur.
"I didn't even realize what happened, and [the assailants] were walking around nonchalant. Then I walked around the truck and I started screaming 'They stabbed him! They stabbed him!'"
What is frustrating the woman is that no one from the RCMP's Integrated Homicide Investigation Team (IHIT) has taken a formal statement from her nor did IHIT document her injuries.
"I've got road rash all over my back from being on the ground, scratches across my chest, chunks ripped out of my hair," she said.
Another source of anger is that with so little information in the early days, there were suggestions on social media that the victims of the homicides were homeless or drug-addicted street people.
"Everyone just thinks they were homeless junkies," she said of Drage and Doug Presseau, the other victim. "They had people who cared about them and neither one of them was homeless and neither one of them was a junkie."
She said Drage, who would have turned 52 on July 16, was as a chef at Greek Islands where he sometimes worked seven days a week, including double shifts.
"He was a hardworking, good person," she said.
The second victim, Presseau, was apparently stabbed near Princess Avenue and Nowell Street where he was going to or from his own nearby apartment.
Names of the deceased have not yet been officially released, but tributes poured out on Facebook for Presseau and for Drage. Many posted condolences and rest-in-peace messages online, with some suggesting that Presseau, too, was killed trying to intervene to stop the violence.
Five days after the triple stabbing left Presseau and Drage dead, no one is in custody, yet IHIT says the public is not at risk.
"We are still in a very crucial stage in the investigation," IHIT spokesperson Cpl. Meghan Foster said Tuesday. "If there was any reason to notify the public of a safety issue we would do so."
When asked about the reports that the men were at least innocent and probably Good Samaritans, Foster wouldn't say.
"What I can say is we have multiple investigative theories for which we are still collecting evidence. If there are people in the community that have information they should contact us."
Foster confirmed that as of Tuesday afternoon, no one was in custody but that IHIT is speaking with "persons of interest," a term that describes suspects, witnesses, and others who may have information about what happened.
Pressed on why the public is not at risk if Good Samaritans were killed, Foster said it was too early to know the connection, if any, between the assailant(s) and the victims yet that the public should always be cautious.
"We don't want to go out and alarm people but we don't want to say it's not targeted," Foster said.
The downtown was busy with pedestrians at the time of the incident with the first Party in the Park ending about a half an hour before, but there is no link to the popular downtown event.
Drage's girlfriend said to honour the deceased man on what would have been his 52nd birthday, she is organizing a candlelight vigil on July 16 at 9:30 p.m. at the park at Five Corners and she wants his friends and people who knew him to attend.
Anyone with information about the incident on July 7 asked to contact the IHIT information line at 1-877-551-IHIT (4448), or by email at ihitinfo@rcmp-grc.gc.ca. To remain anonymous, contact Crime Stoppers by phone at 1-800-222-TIPS (8477).
See www.theprogress.com for more on the double-murder downtown as details become available.
Online memorial to Steven Drage killed in a stabbing incident at Five Corners in Chilliwack on July 7. (Facebook)
Jenna Hauck/ The Progress A parking lot in downtown Chilliwack remained behind police tape Saturday morning following a stabbing Friday night that left two people dead and another injured. IHIT is investigating.
A parking lot in downtown Chilliwack remained behind police tape Saturday morning following a stabbing Friday night that left two people dead and another injured. IHIT is investigating. (Jenna Hauck/ The Progress)
Langley family plans to donate $6 million from development proceeds
Wildfires burn 111,000 hectares across B.C.
Housing needs of Chilliwack are the focus of new survey
City of Chilliwack is gathering information about housing needs of residents now and down the line
Chilliwack's Greg DeVries being inducted into Canada West Hall of Fame
The former sharpshooter led the University of Alberta to a pair of national basketball titles.
OPINION: Should Charter protection against cruel and unusual treatment be extended to corporations?
B.C. Civil Liberties Association intervenes in case to be heard by Supreme Court of Canada Wednesday
Free wellness event offers group meditation, reiki, healing at Tractorgrease in Chilliwack
It takes place this weekend featuring music, kombucha, traditional First Nations medicine and more
UPDATE: One dead after early morning fire in commercial trailer downtown Chilliwack
Chilliwack RCMP Serious Crime Unit on the scene on Victoria Avenue investigating
Explore Chilliwack Progress
Chilliwack News
Chilliwack Weather
Chilliwack Classifieds
© 2020, Chilliwack Progress and Black Press Group Ltd.


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Audio	/ Audio Networking / products
Comrex Debut ACCESS NX Rack, an AES67 Compatible IP audio codec
The codec has been updated to incorporate the technical advances from the last decade including completely new hardware, allowing for AES67, AES3 or analog audio I/O.
The ACCESS NX Rack features new hardware and supports AES67, AES3 or analog audio I/O. ACCESS NX Rack can connect to Wi-fi and 4G modems, and supports a wide arrange of connection protocols and audio encoders. It's driven via a new HTML5-based web user interface.
ACCESS NX Rack is compatible with all Comrex IP audio codecs as well as the company's FieldTap smartphone app. ACCESS NX Rack also includes CrossLock technology, a proprietary suite of tools that solidify connections over IP networks. By sending redundant streams through two separate networks, which results in a fail-safe in the event that the primary network falters.
ACCESS NX Rack also includes HotSwap, which allows users to designate one network as a backup that will only engage when the primary network has failed. Fall-over to backup requires but seconds and is is seamless.
Comrex demonstrated its new HTML5-based GUI, which is Included for free in a new firmware update for ACCESS and BRIC-Link codecs.
Because Adobe has announced the end of Flash support, and because most browsers disable Flash by default, Comrex has provided an alternative to the Flash-based GUI with this new, fresh, moreuser-friendly interface. Using the new user interface is optional, even when firmware is updated. All current Comrex IP audio codecs by default still use the Flash interface, as well as Toolbox, Codec Commander, and Fleet Commander .
The new firmware includes Comrex's new HotSwap feature, that allows users back up studio-to-transmitter links (STL) or other dedicated links with a wireless modem. Users can select a network that will only be engaged if the primary network fails. The system will warn of this status with a contact closure, and automatically fallback to the primary once it's restored. Fall-over to backup happens in a matter of seconds, and is seamless.
Both ACCESS NX Rack and ACCESS MultiRack have the new HTML5 user interface, and were featured in the company's booth.
Essential Guide: When to Virtualize IP
Moving to IP opens a whole plethora of options for broadcasters. Engineers often speak of the advantages of scalability and flexibility in IP systems. But IP systems take on many flavors, from on-prem to off-prem, private and public cloud. And…
Super Bowl to Use IP and Network-Based Audio
Every Super Bowl is a showcase of the latest broadcast technology, whether video or audio. For the 53rd Super Bowl broadcast, CBS Sports will use almost exclusively IP and network-based audio.
Focusrite RedNet Components Used at E-Sports Championship in Poland
Germany's Lanxess Arena Expands Riedel Intercoms To Support Multiple Live Events
Florida's First Baptist Church Adds TSL Products Control System To Manage New And Legacy Equipment
Sonifex Shows Latest Audio Interfaces At BroadcastAsia

redpajama_set_name: RedPajamaCommonCrawl


If you are single, stay at home mum, student or just want to earn some extra cash then jobs like chatting to random people on the telephone seem to be the way to go.
Random Chat right now is incredibly popular, whether or not the rise of the likes of Chat Roulette and the like have whet our appetites or not I don't know, but finding a job that is just like this isn't hard to do.
Generally Chat Host Jobs are for people who want to moderate bingo games, chatting to the bingo players and throwing bonuses around, keeping you entertained. However, Chat Host Jobs can also be where you will answer random calls to random strangers who just want a shoulder to cry on, to bend your ear about something or just want to have a chat because they are lonely. Nothing wrong with it and nothing seedy about it, but it pays quite well if you spend time chatting on their systems.


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UK: Commercial Court Finds 9/11 Attacks on WTC Were Two Events and Not One
The Commercial Court has decided that the 9/11 terrorist attacks on the World Trade Center constituted two events and not one, the first time an English court has ruled on this issue.
In Aioi Nissay Dowa Insurance Company v Heraldglen Limited and Advent Capital (No. 3) Limited [2013] EWHC 154 (Comm), Mr Justice Field upheld the decision of an arbitral panel which concluded that for the purposes of four retrocession excess of loss reinsurance agreements, there was not sufficient unity in time or location for the losses to have arisen out of a single event.
In deciding the case, Field J analysed the "unities" doctrine, which developed from the Dawson's Field Arbitration in 1972 and was clarified by Mr Justice Rix in Kuwait Airways Corporation v Kuwait Insurance Co SAK [1996] 1 Lloyd's Rep 664. As Rix J said in Kuwait Airways, although one occurrence may embrace several losses, the circumstances of the losses must be scrutinised to see whether they involve such a degree of unity as to justify their being described as or arising out of one occurrence. In assessing the degree of unity under the doctrine, regard may be had to such factors as cause, locality, time, and the intentions of the human agents. Ultimately, the doctrine is an exercise of judgment.
When considering the WTC losses, Field J held that the arbitral tribunal had not erred in considering the four unifying factors. In particular, although the hijackings were part of a single terrorist plot, this did not amount to an event of sufficient causative relevance to override the conclusion that there were two separate hijackings of two separate aircraft which caused separate loss and damage.
Field J recognised that the two event conclusion was different from that reached by the US Court of Appeals, Second Circuit, in World Trade Center Properties v Hartford Fire Insurance Co [2003] 345 F.154, where it was held that the WTC loss resulted from a single occurrence for aggregation purposes. However that case depended on different, broader aggregation wording where "occurrence" was defined as encompassing losses attributable directly or indirectly to one cause or one series of similar causes. Further, that US decision on the so-called 'Wilprop' wording did not apply to insurers on different policy forms, where the definition of "occurrence" was vaguer and the attacks were deemed multiple occurrences.


Incorporating more apples into your diet may mean a whiter smile.
With the growing trend of going "natural," it's no wonder that people are looking for new ways to incorporate more organic methods of living into their everyday lives—and whitening their teeth is no exception. Though visiting a dentist to brighten your pearly whites often brings the best results, check out a few foods that can help whiten your smile by simply consuming them.
At first glance, it's hard to believe that a strawberry's rich, red hue could lighten your teeth! Strawberries contain malic acid, a naturally occurring substance that gives fruits their sour taste but also has teeth whitening benefits. Try mashing two to three strawberries in a bowl and applying the paste to your teeth for a couple of minutes. Rinse thoroughly when finished to avoid damage to your enamel.
Foods like sunflower seeds, cashews and walnuts don't contain nutrients that aid in whitening your teeth directly, but when chewed, their rough texture brushes up against teeth removing surface stains and plaque.
A natural way to remove stains on teeth, incorporating more apples and carrots into your diet can result in a whiter smile. How? These healthy fruits and vegetables make the mouth produce more saliva. Saliva acts as a built-in self-cleaning agent that rinses the teeth and kills bacteria.
Wondering what other options you have for maintaining a bright and healthy mouth? Learn about professional whitening services that can brighten your smile in just one visit by contacting our practice today to schedule an appointment.


A secure future, a farm for future generations. It's everything a farm family wants. Recognizing and honoring those farms that have been in the family for generations is important to Farm Bureau. After all, Iowa agriculture is the backbone of our state and helping ensure that other farm families have every opportunity to reach those same milestones is equally important.
Farm Bureau is proud to support the following programs – helping to ensure that what you're doing today on your farm will create an enduring legacy for future generations.
Iowa Farm Bureau's farm continuation program is free to Farm Bureau members and designed to help farmers develop business and succession plans.
The Century and Heritage Farm Program recognizes and honors those individuals who have owned farm land for 100 years or more. The program is sponsored by the Iowa Department of Agriculture and the Iowa Farm Bureau, with the endorsement of the Iowa American Revolution Bicentennial Commission.


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Vitalik Buterin Explains What's Next for Ethereum after the ETH 2.0 Beacon Chain Launch
Sarah Tran Dec 03, 2020 03:28 2 Min Read
Ethereum 2.0 Phase 0, also known as the blockchain's Beacon chain, was launched on Dec. 1. The launch of Ethereum 2.0 has introduced a new consensus mechanism to the network—proof-of-stake.
Ethereum 2.0 has been divided into phases, with Phase 0 enabling the staking function of the project. Phase 1 enables the sharding of data, which would enhance scalability and increasing the storage capabilities of the network. Phase 2 enables thousands of transactions per second, as well as transaction sharding.
In March 2020, the co-founder of Ethereum Vitalik Buterin emphasized that research and development on the network were to continue despite challenges faced. He added that upcoming changes would address the issues noted at the time. He said:
"In general, over the last ~2 years there has been a solid shift from "blue sky" research, trying to understand what is possible, to concrete research and development, trying to optimize specific primitives that we know are implementable and implement them."
The co-founder of Ethereum, Vitalik Buterin has recently published a new roadmap of the next steps for ETH, and what is next for the network. One major change that was noted in the new roadmap is that the three steps can be worked on in parallel, instead of grouping them into different stages. Buterin recently tweeted while pointing to the below roadmap:
"The roadmap I made back in March updated with (very rough and approximate!) progress bars showing what has been done and some of the recent tweaks to the roadmap itself. A lot has been accomplished, but still a lot remains to be done!"
According to Buterin, the progress on data sharding and light clients currently sit below 50 percent, which means that Phase 1 of Ethereum 2.0 would still be one year away. The next significant developments Ethereum has in store for 2021 would involve the launching of 64 shard chains, operating under the proof-of-stake consensus mechanism and validated by ETH stakers.
Ethereum 1.0 is still looking forward to Phase 1.5, where the Ethereum mainnet finally gets to join the Beacon chain as a shard chain, marking a full transition into a proof-of-stake network. This is scheduled to happen in 2021 as well.
Buterin further urged the community to work hard for an Ethereum improvement proposal, EIP-1559, which aims to reduce transaction fees by introducing flat fees with a burn mechanism. EIP-1559 was the first serious proposal to suggest burning fees since Ethereum's genesis block in 2015.
BEACON CHAIN


We are seriously excited to see Disney's Moana in a couple of months! Not only will it add a bit of Pacific warmth to our cold Minnesota November, but one of its stars is Dwayne Johnson, who I have loved forever. Well, to be honest I should say that I have loved him ever since he started acting in movies as I don't follow wrestling. I'm also excited about the music from Lin-Manuel Miranda! Moana looks like so much fun and I have a strong feeling that Moana will become a much-loved Disney princess!
MOANA opens in theatres in 3D this Thanksgiving!
This looks like a great movie! I know my grandsons are going to want to see this!
This movie looks really good. I cant wait to go see it.
Shop White Tank Tops, Striped Dresses, White Sandals, Black Pumps Shoes and more. Get this widget.


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Q: passport and JWT So i managed to get passport-twitter working together with jsonwebtoken library, but in order for it to work properly I have to use express-session as the middleware. I don't want to add session because I'm using jsonwebtoken to return the token.
Here's the code
autheticate.js
router.get('/twitter', function(req, res, next){

  passport.authenticate('twitter', {session: false}, function(err, user, info){
    if(err){ return next(err); }

    if(user){
      var token = createToken(user);
      console.log(token);
      return res.json({token: token});
    } else {
      return res.status(401).json(info);
    }
  })(req, res, next);
});

I already added session: false as the argument, but on server.js it keeps spitting error, that i need to use express-session.
server.js
var express       = require('express');
var path          = require('path');
var logger        = require('morgan');
var bodyParser    = require('body-parser');
var mongoose      = require('mongoose');
var passport      = require('passport');
var session       = require('express-session');
var config        = require('./config');

mongoose.connect('mongodb://localhost', function() {
  console.log("Connected to the database");
})

require('./passport')(passport);

var app = express();

var authenticate  = require('./routes/authenticate')(app, express, passport);
var api           = require('./routes/api') (app, express, passport);
// uncomment after placing your favicon in /public
//app.use(favicon(__dirname + '/public/favicon.ico'));
app.use(logger('dev'));
app.use(bodyParser.json());
app.use(bodyParser.urlencoded({ extended: false }));
app.use(session({

    secret: config.TOKEN_SECRET,
    resave: true,
    saveUninitialized: true,
}));
app.use(express.static(path.join(__dirname, 'public')));
app.use(passport.initialize());

app.use('/auth', authenticate);
app.use('/api', api);

app.get('*', function(req, res) {
    res.sendFile(__dirname + '/public/app/views/index.html');
});

app.listen(3000, function(err) {
  if(err) {
    return res.send(err);
  }
  console.log("Listening on port 3000");
});

So whenever i delete app.use(session()) and try to authenticate with passport-twitter. I will get this error

error Oauth Strategy requires app.use(express-session));

I know that the obvious solution is to add that line, but I dont want to use session. Does Oauth 0.1 really need to use session?

A: Passports OAuth based strategies use the session middleware to keep track of the login process. You do not need to use the session middleware for anything else, just base your authentication on your token and ignore the session.

redpajama_set_name: RedPajamaStackExchange


There is actually another horror game besides the Siren series that portrays the "indigenous horror" at the root of Japan's unique landscape. This is the Zero series, which has so far released three games. What does the creator of Zero, a game that freezes the hearts of its players with Japanese houses and ghosts, have to say about Siren?
※1 - The sounds that ghosts in Zero make are based on special sounds that I, the creator, heard for myself during spiritual experiences. This is a digression, but we work hard to carefully reproduce the effects of the in-game ghosts and make them as close to the ones I saw myself as possible.
A unique game creator who has been able to see all kinds of things since he was a child. He also has a widely varying range of nightmares each night, saying that those experiences are used in creating the Zero series.
I don't think the "horror game" genre exists. Most horror games are little more than adventure or action games with a sprinkle of horror added in.
When I try to write about what it's like to play a horror game, I'm first drawn towards their syntax and amusement as a game, as well as the physical sensation of fear. However terrifying the monster, in a game they are an enemy you are expected to defeat, and the moment they become used as an "obstacle" to proceeding across the map, they begin to encode themselves within the player. The fear that this kind of game specifies gets more and more distant.
I think that both the Zero and Siren series are the kind of horror that always aim to show something to the player that makes them imagine something they can't see. As someone who has also made a mental horror game, I'd like us to think about the approaches that both series use.
The Zero series is made of games that try to conform to the action-adventure style of Resident Evil and Silent Hill, while still creating a kind of fear that appeals to the imagination.
The map reproduces the darkness that dwells in uniquely-constructed Japanese houses, behind paper screens, under decking and on top of beams. Sounds※1 play during the time between cutscenes that evoke the player's imagination, allowing them to experience ghostly phenomena. The background is created to make a multilayered image, and a scenario is created that abides by the rules of the nightmare...※2 Zero was created focusing on making the player steadily progress along the linear story, imagining what will come from atop the line, or what is either side of it.
Siren, however, is not on a line but rather specific points, using the approach of making you imagine how they are tied together along the line. I will explain this point using sightjacking, the link navigator and archives.
※2 - In my dreams, things happen when I think that I don't want them to happen, and despite me being the protagonist I do things I don't intend to do, repeating similar things from the past, unfolding based on unique rules. I call these "nightmare rules". When I discussed them with Toyama, he said to me, "I should try to have nightmares while I'm awake," to which he replied, "I know, but it seems kind of hard," and laughed. Even though he's the one who made Silent Hill.
※3 - Siren has sightjacking, and Zero has Camera Obscura mode. They have their differences, but Toyama and I agree upon using first-person view to expand the fear, which I found unexpectedly exciting. When I heard that sightjacking is based on modern art that exchanges sight and sound, I was surprised by Toyama's attention to art. This is a meeting between horror and modern art on a game console.
※5 - Notice how not all of the levels in Siren are consecutive. In a normal game, the map is made to be as consecutive as possible in order to make the player feel as though they are actually in the fictional universe. Siren fragments that part as well, but also joins the pieces together.
Sightjacking※3 is a system that lets you know of your foe's location and presence, something that is surprisingly practical and systematic. Because of this, you will not be surprised by unexpected attacks or events.※4 However, another characteristic of sightjacking is that, while you can use anyone's view, you can only see one view at once, so that at the same time as you sense "someone" moving around elsewhere, it also succeeds at making the area itself in which you are encompassed seeming wider. Since you can use anyone's eyes, you can also envision the places you can't see. Siren is in its own unique space, where time has stopped and yet seems to constantly be writhing... I felt not only from the levels of the game I was playing, but from the very world itself (even the other world on the other side of the red sea) that it was all alive, and was always connected. No other horror game could express this sensation.
The way the levels are told using the link navigator is another way of showing time using "points". The levels are told from the viewpoints of several characters, though this does not mean that all of each character's actions are performed during the game※5; nor do you play the stages in chronological order. Even the occasional custscenes are fragmented. This method, seeming to reject the method of dramas that involve the player's emotions, is not uncommon in novels, but could be said to be extremely rare as a way of furthering the story in a game.
※6 - Right after the start of planning, Toyama explained to the people around him about the game's image that they should compare it to freeing a clump of hair, or a mechanical box. He says he got this idea from Steven King's modern novel "Carrie". By gathering together fragmented information, you finally begin to see the truth, a part of which is also used in the latter stages of Silent Hill, and "worked quite well", says Toyama, which appears to have led to it becoming the method of progression in Siren.
※7 - Naoko Sato expresses this as "gathering together parts of things that at first glance appear meaningless, putting them together based on some intent and then arriving at an unforeseen conclusion, and the shock and joy of the experience". You could say that Siren really begins once everything starts becoming clear.
Here, I want to touch upon the way Siren's story is told. I think the game qualifies as an action-adventure game, but it has some definite differences from other games.
In standard adventure games, you continue through the story, discovering a reason behind your actions as you play. In this format, the player is the game's protagonist. However, Siren daringly cuts this out. Your objective is clear from the start, the player fulfulling it in a mission format. There is a story from the start, and perhaps it is easiest understood to say that the actions performed by the characters in the story are guided by the player's actions. To me, someone who thought that adventure games control the feelings of the player, this was quite a shock.
And then there's the archive. Hidden in these passages and pictures, unnecessary to complete the game, are hidden intricate details about the background of the world. This is like a fusion of the "points". These "points" are loosely connected, and require quite a lot of imagination in order to decipher the world. They also have interesting ties to history, myths and a variety of legends, full of pedantic enjoyment. This part, in a way like a sort of romantic novel, requires quite a firm background when it's created, so it takes a huge amount of time to actually make, and has so far generally been ignored in the making of games.
This is how space, time and background are three layers of "points" that are loosely connected, creating Siren like a building. This construction latches onto the "unseen things" mentioned at the start, enfolding you... I believe that is the new horror game format of Siren.※6 What the game tries to create is a unique system that scares you by expanding your imagination.
Siren isn't the kind of game that is resolved once you see the ending. Many of its points are mutually connected, spreading out ominously. Finishing the game allows you to experience the fun of suddenly realising the unforeseen connections between these points.※7 The protagonist in Siren is the world of Siren itself.
Finally, I'd like to mention the artistic things. That means the ruins.
I like abandoned buildings too, and I collect photos of them, but I believe that there are two kinds of ruin. The first is the kind that seems as though someone has been there. They bear all kinds of traces, like those of life and thoughts. When you go into abandoned houses like that, it feels uncomfortable, like you're sneaking into someone's home while they're out, and there is a fear in imagining why everyone is gone. Houses are divided by inside and outside, and inside they have topos (a place's force). Places with that remaining are my favourites - in other words, the kind of house from Zero.
The other kind of abandoned building is a ruin that has lost its topos. Though you are inside the building, the air feels like that of the outside. You could also call these the corpses of buildings. There, things that once had meaning to people return to being objects. This is what Siren's ruins are completely. I think the reason they feel this way has a good deal to do with the game's camera system.
Zero is played from a third-person perspective where the character moves in accordance with fixed camera angles across a room, which I think lets you express the distortion of a location. You can show how the darkness or shadows in a corner of a room, or an altar is important, and by composing it to look as though someone besides your character might be there you can also make people feel the gaze of an unseen person.
However, Siren normally uses a camera that follows the character around from behind and is quite close to first person, showing all areas evenly, shattering topos. I think this is a way of completely expressing the corpses of buildings, though. Along with faithfully reproducing actual ruins, Siren's old buildings do a good job of showing dead buildings with their insides and outsides connected (this is the same charm as most books about ruins have).
This point is another reason why I am fascinated with Siren.
A Japanese-style horror game in which Miku Hinasaki, a girl with a sixth sense, takes the Camera Obscura - a camera that can photograph "impossible things" - and investigates an abandoned Japanese house in search of her missing brother. She can use the camera to seal away spirits, solving mysteries using things that appear in photos and pursuing the root of the curse. As I wrote in the main text, the approach we used was based on my nightmare rules and the distortions of a Japanese house, a game in which I searched for how far I could take things and make people sense "unseen things" through a game.
We packed the game full of Japanese horror-style things such as an indigenous worldview, unbroken customs and rituals, the chains of the curse and sensing invisible things, giving it an atmosphere overflowing with unease.
Twin sisters Mio and Mayu become trapped in the Lost Village, where crimson butterflies flutter, becoming caught up in an ancient ritual in which twins are sacrificed in the second installment.
Strangely, the release date was close to that of Siren, and they are both set in vanished villages featuring twins, sharing several similarities since they both draw inspiration from Daijiro Morohoshi's Yokai Hunter, but it's a complete coincidence. When you take a closer look, Siren's bird's eye approach and Zero's weaving of personal emotions are totally different... You could also say that there is a contrast between Zero, which is enjoyed as an interactive movie where you experience the story, and Siren, which is a pure blend of game and novel methods.
"I survived..." Rei Kurosawa, a photographer who loses her boyfriend due to her own error, begins to be beckoned to a manor in her nightmares from the day she sees his shadow. Each time she awakens, a tattoo spreads across her body. The mystery of the "House of Sleep" is unravelled from three viewpoints: Rei Kurosawa, Kei Amakura, and Miku Hinasaki. This is the third entry in the series, portraying fear that eats into everyday life.


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Home - America - Canada
Rocky Mountaineer: the train that shows you the natural beauty of Canada
Choosing Canada as a tourist destination is a success. It is because it is a country as great as the beauty of its mountains, lakes and canyons. That is why there are not a few people who decide to undertake a trip beyond the United States with the aim of merging with nature.
In addition to visiting the most beautiful towns in Canada , which is highly recommended, it is worth getting on a train with which you soak up all that natural essence, traveling kilometers and kilometers with all the comfort in the world and enjoying privileged views. Your name? Write it down: Rocky Mountaineer .
The best views in Canada
Each day he travels about 450 kilometers during the day. In fact, it is a train full of windows that allows you to see everything from your seat, which is why it is only in operation during the brightest months of the year, which go from April to October.
You can book a trip on the Rocky Mountaineer for between 4 and 14 nights , which is why each ticket includes a gourmet cooking service for breakfast and lunch. The menu is full of local produce and the dishes are prepared by award-winning chefs, so they are not just anything. All seasoned by the best British Columbia wines.
📖 What to eat in Canada
Four great options
During the night you say goodbye to the train and sleep in hotels. Before that happens, you start the adventure based on one of the four great routes available: Coastal Passage, Rainforest to Gold Rush, Journey Through the Clouds or First Passage of the West.
Coastal Passage is the one that takes you along the Pacific coast, so it is the most recommended for beach lovers. You start in Seattle, go through Vancouver, and end in Lake Louisse or Banff.
Rainforest to Gold Rush starts in Vancouver and takes you to Jasper, and this time, as its name suggests, the journey allows you to explore the Canadian rainforest, including highlights such as Fraser Canyon, Gold Pan City (Quensel) and the Cariboo Plateau Ranches.
Journey Through the Clouds is the one that takes you higher as it traverses the Rocky Mountains of Canada. And last but not least, the First Passage of the West route is the most authentic of all, as it passes through spiral tunnels to show you the historic route of the Canadian Pacific Railway.
📖 Moraine Lake, one of the most beautiful places in Canada
Much more than a train ride
Not only will you have to choose the routes, but you will also be able to choose the activities, hotels and tours that you want to carry out. What do I mean? To the helicopter trip that you can book, to a visit to the Yoho National Park, the Banff cable car or the most demanded tour: the one that allows you to watch whales.
Below you can see a video of the First Passage to the West route that will give you long teeth.
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text:
deviantmonk
Theology of the Body: Part 2
By deviantmonk
In Family, Life, Philosophy, Theology, Theology of the Body
After looking at the somewhat paradoxical relationship between the two situations of historical man- that of original innocence and his subsequent fallen-ness- JP II drew out an even deeper link between the situation of fallen-ness and the mystery of redemption that is inherent to historical man in and of himself, both objectively as being created in the image of God and in his own subjectivity viz-a-viz his historical situation. This forms the content of the 'beginning' that Jesus appeals to in response to his interlocutors' questions about marriage and divorce.
Continuing on to eventually arrive at this "original unity" between husband and wife, JP II stops to briefly consider what he calls man's "original solitude," what I like to call a sort of 'pre-beginning.' He draws once again on the differing accounts of the creation of man in Genesis, here focusing primarily on the second account. In the first account we find no mention of man's 'original solitude:'
The problem of solitude shows itself only in the context of the second account of the creation of man. There, man is created in a single act as "male and female," (God created man in his image… male and female he created them," Gen. 1:27). The second account- which, as we have already mentioned, speaks first about the creation of man and only afterward about the creation of woman from the "rib" of the male- concentrates our attention on the fact that "man is alone," and this turns out to be a fundamental anthropological issue that is in some way prior to the issue raised by the fact that man is male and female. (TOB 5.3)
As alluded, this insight is drawn from the second account of the creation of man- the so-called 'Yahwist' account- in which mankind's creation is in some way prior to the creation or division of mankind into male and female. The term used for man before this distinction- adam– is used without reference to either male or female, whereas once the creation of woman from man occurs we find that issa (woman) is brought forth from is (male). In JP II's words:
It is further significant that the first man (adam), created from the "dust of the ground." is defined as "male"(is) only after the creation of the first woman. Thus, when God-Yahweh speaks the words about solitude, he refers with them to the solitude of "man" as such and not only to that of the male.
The upshot of this is that man (male and female) was created in a state of original solitude, and that this solitude is not only representative of a male without a female but rather speaks to something deeper and actually points to something that is constituent of the nature and ontology of every man whether male or female. JP II goes further and understands this solitude as originating not only in man's own nature, but also evidenced in the relationship between male and female. As such, the sexes of male and female are to be understood not as something ancillary to man's nature (and thus to each historical man's nature as he experiences it both objectively and subjectively) but rather issuing forth from that nature itself. Both the nature of man as it is in itself and as it exists in the relation between male and female point to this original unity in which man finds that it is not good for him (adam) to be alone.
In considering this original solitude and its implications for the theology of the body, JP II continues by noticing its meaning in respect to man's original vocation. In the same text the creation of man is linked with the original state of the earth as such where there was no one to cultivate it. JP II sees this as being related to the first account's description of man's vocation to subdue the earth and rule it. Here we find the essence of man's original happiness, in that
man is the object of the creative action of God-Yahweh, who at the same time, as Legislator, sets the conditions of the first covenant with man. Already this divine act underlines man's subjectivity. (TOB 5:4)
What he is getting at here is that by entering into a covenant with God (by virtue of deriving his existence from God), man now exists in relation to not only the God who created him and is the objective source of his being, but also in relation to his own happiness and his own interaction with the world God has given him and the duties placed upon him. This subjectivity, we read, is further refined as man comes into relationship with the animals, wherein they are brought before him to "see what he would call them." JP II sees this as an examination of man before God, wherein he can discover both his relation to the rest of creation as a part of it, but more importantly his own superiority and transcendence from it. It is this latter relation which man eventually finds through the naming of the animals, for we read that he "did not find a help similar to himself." (Gen. 2:20)
In his own subjectivity man thus discovers the meaning of his original solitude, and finds that while he is a part of creation, there is an aspect of his own nature that is in some way dissimilar from the rest of creation. He is not meant to merely exist in this world, but is given the charge to 'cultivate the ground' and realize his own distinction from it as being made in God's image:
Thus, the created man finds himself from the first moment of his existence before God in search if his own being, as it were; one could say in search of his own definition; today one would say in search of his own "identity." The observation that man "is alone" in the midst of the visible world and, in particular, among living beings, has a negative meaning in this search, inasmuch as it expresses what man "is not." (TOB 5.4)
However, even those this original solitude has a negative meaning is this respect, it also carries a positive one in that man must realize that the definition he gives to other things- the names he bestows upon them- is not final definition of himself; to find his true definition, to conclude the search for his own being, he must look beyond the animal (although he shares that as part of himself) and discover both what- and finally- who he really is.
This search for his own being- which is part and parcel of his own subjectivity- signals that he is clearly distinct from the rest of creation and the rest of living things which he has been able to name. His ability to know not only the world outside of himself but even that within him through self-knowledge affirms his dissimilarity from all other living things but more importantly allows him to go outside of himself, as it were, and in doing so "reveals himself to himself in all of the distinctiveness of his being." (TOB 5.4) The realization of this distinctiveness carries a two-fold meaning for original solitude. Firstly, he is not alone merely because of his ontology or even because of his subjectivity. As JP II states:
Solitude also signifies man's subjectivity which constitutes itself through self-knowledge. Man is alone because he is "different" from the visible world, from the world of living things. (TOB 5.4)
In a somewhat paradoxical fashion, it is this original solitude which forms the ground of man's very personhood. For in discovering that he is alone by being different from the world of living things, he sets himself off from all creation in this act of self-revealing and discovers in his own subjectivity not only that he is alone, but that he is alone because he is himself. So while he certainly has an animal body like the other animals he has already named, in his search for his own definition he has discovered- through his original solitude no less- that he is first and foremost a person, and this being-a-person or being-himself is at bottom the primary definition of man.
The narrative in genesis about the tree of the knowledge of good and evil adds an additional element to man's subjectivity and personhood- that of self-determination and choice. This becomes integral to man's original solitude in that the need for a 'help' cannot be excised from this self-determination. In other words, inasmuch as original solitude is constituent to man ontologically, so to be in relation is woven into this as a natural consequence of solitude. Man exists originally and primordially in covenant with God, and in this is evinced his dependence on God both for his being and for his own self-definition:
Man is "alone": this is to say that through his own humanity, through what he is, he is at the same time set into a unique, exclusive, and unrepeatable relationship with God himself. The anthropological definition contained in the Yahwist text in its own way approaches the theological definition of man that we find in the first creation count )"Let us make man in our image and our likeness," Gen. 1:26)
The body which man finds himself to not only be 'in' but to actually 'be' is part and parcel of this original solitude, as seen in how man, although like the animals and other living things in some manner, is nevertheless 'alone.' JP II speculates that it is the very reality of the body that may have led man to the realization of his solitude. Indeed, instead of coming to the conclusion that he was like all the other animals, he came to the opposite conclusion that he was actually more unlike them, which in itself contains a seed of the notion that perhaps he is more like God, which we know from the earlier account to be theologically true. The meaning of man's body, both in its physicality and in its transcendence as being a part of his 'him-ness' which goes beyond other living beings, comes to be that in man's solitude he is not meant to be alone but rather to have a help, both as he stands in relation to himself, to God and to another who will be like him. Here again we find a hint of the mystery of redemption mentioned earlier, and how the seeds of it are contained 'in the beginning.'
This meaning of the body has a further implication for the unity of man in himself in that he realizes his own identity not only because of realities such as self-determination and free will but also because of his own body. As aforementioned, even though his body is like other bodies and in a world of other bodies, his relation to his own body gives rise to the understanding of his own solitude and self-determination, and thus within the unity of that which is purely body like all other beings and that which is himself in a distinct sense we find the person himself, so unified that he can say that he is his body, rather than he merely has a body. The theological meaning of his body- both in being formed from the dust of the ground and in having life breathed into him- is thus not simply a metaphysical notion to be contemplated by minds but a concrete reality concretely realized in his own subjectivity as a body.
As we come back to the tree of knowledge, JP II argues that
The original meaning of man's solitude rests on the experience of the existence he obtained from the Creator. This human existence is characterized precisely by subjectivity, which also includes the meaning of the body. (TOB 7.3)
The death warned against by God in respect to eating from the tree would thus appear to man as "a radical antithesis of all that man had been endowed with." (TOB 7.3) The man realizes in himself the dependence of his existence, and the (perhaps) startling revelation that he could very well not be. The even more startling revelation is that, due to his endowment with free will and self-determination, the continuation of his existence and fellowship with God is up to him and him alone. This naked vulnerability before such a terrible choice marks his original solitude as well:
He should have understood that this mysterious tree concealed within itself a dimension of solitude that was unknown to him up to this point, a dimension with which the Creator had endowed him in the midst of the worlds of living beings, of the animals to which he, the man, had "given names,- in the presence of the Creator himself- so as to come to understand that none of them was similar to him. (TOB 7.3)
JP II closes out the discussion of original solitude by noting that this choice between life and death is not something ancillary to our nature, sprung up us by our fallen-ness, but is rather part and parcel of our nature, the corollary of having a body, of which death has particular relevance:
The alternative between death and immortality has entered from the very beginning into the definition of man and [it] belongs "from the beginning" to the meaning of his solitude before God himself. (TOB 7.4)
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By deviantmonk October 23, 2013
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text:
The Asymmetry in the Right to Free Movement of European Union Citizens: the Case of Students
Francesca Strumia*, Connor Brown**
*Lecturer in Law, University of Sheffield
** LLB Law European and International, University of Sheffield
This post reflects the preliminary results of a research project conducted as part of the Sheffield Undergraduate Research Experience programme (SURE). It also builds on a presentation at the International Society of Public Law (ICON-S) annual conference in New York on 2nd July 2015
Concerns for strained public resources, weakened trans-national solidarity and disaffection with the idea of 'ever closer union' in Europe have made a first victim in public debate: the free movement of persons. This fundamental freedom at the basis of the project of integration conjures up all the above worries: the guarantee of non-discrimination of European Union migrants regardless of their nationality seems a costly one for Member States to uphold; the 'minimum degree of solidarity' that free movement of the non-economically active calls for could not resonate less with the European Union public; and if intended as a right for citizens, rather than just for workers, free movement evokes a 'federalist' idea of Europe that is heresy in a union that wants to be looser rather than closer. On this background it is easy to see how what was once the 'dream' of free movement has become, in many respects, the 'nightmare' to paraphrase the title of a 2014 editorial in the Common Market Law Review.
But how far does the 'nightmare' go, legally speaking? Two cases decided in the last few months, Dano and Martens, offer a viewpoint in this respect. The two cases have little in common: one is about 'welfare tourists', the other is about students; one was much talked about, the other raised little attention. However they do share one element: they reconfirm a difference in treatment between claims against host Member States and claims against home Member States, difference that has come to characterize the law on free movement of European Union citizens. The former claims are subject to stricter conditions - Dano re-emphasizes that a non-economically active migrant does not have a right to reside in a host Member State, let alone a right to non-discrimination there, if she is a burden for the host Member State (see further discussion of Dano here). The latter are more strongly protected - Martens confirms that rigid residence requirements for exportable study grants are a disproportionate way for Member States of origin to avoid financial burdens.
The result is an asymmetry, in cases involving mobility of the non-economically active, between protection of a right to entry (i.e. the right to reside in a host Member State and claim benefits there on a non-discrimination basis) and protection of a right to exit (i.e. the right to leave and export benefits and entitlements from a home Member State). In part, this asymmetry descends from the very evolution of the Court's free movement test, from one looking for discrimination to one looking for hindrance to movement, and in particular for "any national measures which even though applicable without discrimination on grounds of nationality, are capable of hindering or rendering less attractive the exercise by community nationals of the fundamental freedoms guaranteed by the treaty" (CJEU judgment in Government of the French Community and the Walloon Government v. Flemish Government). The way the test plays out in non-workers cases signals in any case a shift in the understanding of relevant free movement rights – a shift that leads to question for whom free movement is a financial burden, to what extent it involves transnational solidarity and how close is the union that it reflects.
This asymmetry emerges with peculiar clarity in the law on student mobility, of which Martens was the latest expression. This is a particularly significant field for free movement of persons as it has been the forefront of legal change in the context of the evolution of free movement from a right for workers to a right for citizens. In addition, encouraging student mobility is a self-standing Treaty objective (art 165(2) TFEU). In numerical terms, the importance of student mobility is also on the rise. Between 2002 and 2012, the number of EU students studying in a EU country other than their own (or in a non-EU EEA country or EU candidate country) underwent an 87% increase, from 354,200 to 663,700, and in a single year between 2011 and 2012 it increased by 23%, from 540,900 to 663,700 (Eurostat data).
THE ASYMMETRY IN THE STUDENTS' CASE LAW
Upon exploring students' case law it seems, on a prima facie basis, that the asymmetry reigns true in how the law treats on the one hand certain "entry-type claims" - e.g. residence in a host Member State for purposes of study and right to obtain maintenance aid in a host State, and certain "exit-type claims" - e.g. portable study finance and tax relief in the home Member State for study fees paid in a host Member State. In the former respect, secondary legislation (Directive 2004/38, the citizens' Directive) recognizes, implementing early case law (Raulin), a right to reside for students, however this is subject to resources and sickness insurance requirements; and maintenance aid is only available to EU students after five years of residence in the host Member State. In the latter respect, case-law has recognized the students' right to export study grants from a Member State with which they can show a genuine link, and students and their families are entitled to claim tax relief in the home Member State for fees paid in a host State. A counter-trend element is education fees: EU students are entitled to equal treatment with host State nationals in this respect, which arguably strengthens their claim to entry. This is however in keeping with early case law pre-dating the advent of European Union citizenship (Gravier). Beyond the prima facie contrasts, the Court's reasoning differs in applying a similar test to claims on the entry and exit side: this is clear in cases concerning respectively maintenance loans and grants in a host State, and portable study finance.
Maintenance Loans/Portable Study Finance
Residence requirements to obtain maintenance aid or to export study finance are at best a hindrance to free movement, and may also be discriminatory. However, in order to avoid migrant students becoming an unreasonable financial burden, it is in principle legitimate for Member States to offer study finance only to students who have demonstrated a degree of integration into the paying State's society (Bidar). In practice however what is a proportionate requirement for these purposes differs, in the Court's case law, for host States and home States. In cases on maintenance aid in a host State, the Court has upheld a rigid five year residency rule as a necessary and sufficient means to prove integration (Förster). A fixed pre-determined requirement protects legal certainty, according to the Court.
In cases on portable study grants, the Court takes a different view. It finds all kinds of pre-determined residence requirements – three-year residence (Prinz and Seeberger), permanent residence in home State or grant limited to host State of permanent residence (Thiele Meneses), three-out-of-six-previous years (Martens), disproportionate. The same three-out-of-six rule had been the subject of an infringement proceeding in 2012 in which it was found to be a discriminatory violation of free movement of workers. Interestingly, in the relevant case (Commission v Netherlands) the rule had been considered from a right to entry perspective (entry of migrant workers in the Netherlands and equal treatment in respect of study finance).
What the court suggests in relevant cases is a more flexible approach to assessing integration: taking into account not only length of residence but also qualitative links such as nationality, educational history, family, employment, language skills and other social and economic factors. The court also corroborates its stricter scrutiny of relevant residence requirements by emphasizing the very importance of students' and teachers' mobility to the project of integration (art 6(e) and 165(2) TFEU), an element in whose respect the court remains silent in host State maintenance aid cases.
Genuine Links and Financial Burdens
As a result the same court that goes along with host Member States' reluctance to support entrant students if not after years of residence, is unwilling to hinder students who wish to export entitlements. In particular, an unspoken implication of the Court's approach is that nationality is an important alternative to residence in proving attachment, to the point that nationals may be allowed to export study finance even from home States they have barely ever entered (Thiele Meneses, involving a German national who grew up in Brazil; Martens, involving a Dutch national who had spent more time in Belgium than in the Netherlands).
Further, the court's approach indicates that the Member States' interest in avoiding systemic financial burdens has a different weight when opposed to claims from incoming students than when opposed to claims from outgoing students. This is confirmed in cases on tax relief in a home Member State in respect of school and university fees paid in a host Member State. A Member State can cap relevant tax relief to the same amount applicable for national fees however it cannot completely exclude tax relief for fees paid in another Member State (Schwarz and Gootjes Schwarz; Zanotti). Even if in such situation, no part of the paid fees, whether paid to public or private institutions, will accrue to the coffers of the tax-relieving State.
Home-Coming Schemes
In a recent case concerning students-family members of frontier workers, Giersch, the Court has given a hint that may suggest a change of direction even in cases regarding students unrelated to migrant workers. The Court has indicated that promotion of high rates of education among the resident population and promotion of the economy are legitimate State interests; and that a requirement for students in receipt of portable study finance to go back to reside and work in the paying Member State upon graduation is an appropriate means to this end. Recognition of similar home-coming requirements as legitimate restrictions to free movement of students would alter the current balance between right to exit and right to entry. By coupling the right to exit with a duty to return, similar requirements would thwart the natural evolution of a student's right to leave a Member State into the right to enter and become integrated in another one. This may result into an impediment to free movement of workers. While any conclusion would be premature, it seems likely that the Court would take a highly contextual approach in assessing proportionality of similar requirements (the hint came in a case regarding Luxembourg, a Member State with an unusually low rate of highly educated residents, and a unusually high non-resident working population).
The asymmetry that emerges in student mobility case law could be articulated, with the necessary adaptations, also in other fields. This asymmetry has two implications that warrant further research. A first implication is in terms of the financial burden of free movement. Who bears the brunt of free movement in this sense, between home and host States, depends in the case of students. For instance, Member States that are large recipients and moderate senders of EU migrant students may find free movement lucrative: sending Member States will pay for study finance, and the host Member State will gain in fees. An example to explore comes to mind: the United Kingdom, which in 2012 sent about 17,000 students to other EU/EEA/EU candidate countries, and received about 200,000 from other EU/EEA/EU candidate countries (Eurostat data). This in turn suggests further reflection on the nature and reach of transnational solidarity in the EU: on what kind of affiliation model does it really depend (D. Thym) and to what extent should it be tied to the nature of the involved social benefit (F. De Witte) rather than to the position of the involved individual. A second implication is in terms of the meaning of European Union citizenship and its relation to nationality. European Union citizenship is often considered a threat and a weakening factor for the rights and the image of national citizenship (according to Gareth Davies, 'residence is the new nationality' in light of European Union citizenship). In this sense it is one of the more 'federalist' achievements of the integration project. Actually at least as regards free movement of students, European Union citizenship rather reinforces national citizenship. It makes rights tied to national citizenship exportable and thus extends the reach of national citizenship across its national borders. The flip side of this implication is that renouncing European Union citizenship or losing it would have the effect of shrinking national citizenship back within its original boundaries.
Francesca Strumia, 'Individual Rights, Interstate Equality, State Autonomy: European Horizontal Citizenship and its (Lonely) Playground in Trans-Atlantic Perspective'
(forthcoming in Dimitry Kochenov (ed) EU Citizenship and Federalism: the Role of Rights,
CUP 2015)
Floris De Witte, 'Who Funds the Mobile Student? Shedding Some Light on the Normative Assumptions Underlying EU Free Movement Law' (2013) 50 C.M.L.Rev. 203
Daniel Thym, 'The Elusive Limits of Solidarity: Residence Rights of and Social Rights for Economically Inactive Union Citizens' (2015) 52 C.M.L.Rev. 17
Gareth Davies, '"Any Place I Hang my Hat" or Residence is the New Nationality' (2005) 11 E.L.J. 43
Photo: Francesca Strumia
Labels: CJEU case law, EU citizenship, free movement of persons, students
AMANDA 22 May 2016 at 12:10
Hi, what is a "portable" study grant and an "export" study grant?
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text:
Government Brings to Trial the Andalusian "Anti-Eviction" Law & Demands its Suspension
The Council of Ministers approved on Friday an agreement through which the President of the Government is requested to bring an action of unconstitutionality interposition against the Article 1 of the Law 4/2013 from October 1st on the measures to assure compliance with the Social Funcion of Housing, the Article 1.3´s new version of the Law 1/2010 from the March 8th of the Housing Right Regulation in Andalusia. It includes Articles 25 and 53.1.a) and also against the additional provision prior to the Law 4/2013 metioned hereabove.
The paragraphs challenged by the central Executive, whose suspention he demands, are the ones related to "the declaration of public interest for the purpose of expriopriation (compulsory purchase) of the requirements coverage of the houses of people in serious social emergency"; the "definition of the uninhabited homes" and "the serious infrigment clasification" for the banking institutions which do not put these houses on the rental market.
Te recourse to the Andalusian law appears in the references that join the agreements approved by the Council of Ministers and made public on Friday. Soraya Sáenz de Santamaría, the vicepresident of the Government, did not mention the fact at the press conference after the government meeting on the compliant to the Constitutional Court (Spanish TC) on the Andalusian rule. (…)
The Very Motives for the Compliant
(…) Therefore, first of all, the Government admits inconstitutionality of the Law "defined by the core content of the right to homeownership, exercising the competencies in terms of housing and town planning of an autonomous community" and claims that "it cannot come along with the core content of the right of private ownership from the sector competencies of housing and/or town planning, as long as the regulation on the basic conditions which guarantee equality of all Spaniards in regard to exercise of the right and compliance with constitutional duties is not affected, due to the Article 149.1.1 of the Spanish Constitution giving the competency to the State, like the Article 149.1.8 of the Spanish Constitution gives the State compentence in terms of Civil Law".
(…) The Executive reckons that the Andalusian law sets series of sanctions aimed at the home owners who have not rented their empty houses (…).
Finally, he says that the regulation sets "arbitrary discrimination" among the owners whose houses are involved in the eviction process, expropriating the right to the house usage for 3 years, "undermining the principles of equality and non-discrimination" which also refers to the Constitution. (…)
Approved in September
During the Andalusian Parliament plenary session on the law of the Social Funcion of Housing, which also presents the temporal expropriation of the use of the house from banks in case of social exclusion risk, was approved on September 25th, with assistance of PSOE-A and IULV-CA. (…).
Source: ABC.es


Early vertical tobacco pocket tin for Penn Tobacco's Honey Moon brand.
SKU: D13-103. Categories: Antique Tins, Antique Tobacco, Antique Tobacco Tins. Company/Brand: Honey Moon Tobacco, Penn Tobacco Co..
Honey Moon Tobacco Tin: Early vertical tobacco pocket tin for Penn Tobacco's Honey Moon brand. Clean, bright and very attractive appearance (C. 8++) w/ just a slight hint of haziness.


It was a proud moment, when a Grease and Grace vintage handbag went to the Emmys!
"Recently we saw these bags in person and have to comment the artwork is among the best we've seen of its kind, plus they're good people.
"Grease and Grace" Vintage Handbags?
There are a lot of choices in the retro scene today.
Each of our Vintage Handbags is One-of-a-Kind.
True vintage is exactly what it sounds like! Real, antique, elegant fashion accessories. Many of which were made in America.
When you buy true vintage handbags you are getting something unique. No one else will have the same purse as you, because it's not possible to!
Thank you Molly! Glad you love your pinstriped purse! Join us on instagram, it's all kindsa fun over there.
Not only is the Grease and Grace Vintage Collection true vintage, each of our purses, clutches, and evening bags has been adorned with gorgeous hand-painted designs. One-of-a-kind vintage handbags, with one-of-a-kind art.
We sell hand picked, vintage handbags. Signs of wear (if any) are disclosed via our listing descriptions and photos in our Etsy store. On some occasions we do sell handbags which are not vintage, and that is always disclosed as well.
Grease and Grace is a family business, and we strive for quality. We hand pick our product and our artist Dean pinstripes each one individually, by hand. There are no stencils! There is no mass-production!
You are getting an original piece of art.
We strive to use, as a canvas, the most beautiful vintage handbags. Many feature unique designs you won't find in modern handbags.
We choose bags that are in mint condition, seeking out the most unique vintage handbags, in the best condition we can get our hands on, with only minor blemishes characteristic of the age.
In addition, we strive to find the most beautiful handbags, many with pockets, zippered pockets, and unique designs you won't find in modern handbags. Occasionally we acquire purses with their original comb and mirror sets. How fun is that?
A vintage handbag with its original comb & mirror set, adorned with custom pinstriping by Grease and Grace artist, Dean.
Although the purses we sell tend to be considered "dress up" bags in our modern era, us ladies at Grease and Grace use our personal vintage handbags daily.
With proper care, the bag itself and the artwork, will continue to stand the test of time. In the unfortunate event something should happen to your vintage handbag through the years, these kind of bags are usually very easily fixed!
Each order is packed by hand, by one of us (There are only four of us!) Each purse undergoes inspection before it is shipped to you, and is packed with loving care to arrive safely in your arms!
Dean embellishes these vintage handbags, clutches, & evening bags with his own style of pinstriping.
Pinstriping is an art form which gained popularity in the United States during the post-war years of the 1950's.
It involves the freehand painting of thin stripes of decorative line art, carefully applied, often without advance sketching.
Symmetry and balance in composition need to be automatic for a pinstriper.
Most people think of pinstriping when they think of hot rod cars.
Dean's pinstriping style has developed over four decades, is rockabilly rooted, and very classic in design. His is the 'old school' look many of you are seeking, with nods to Von Dutch and Dean Jeffries.
Read more about Dean .
All the Colors. All the Vintage!
Here are Many of Our Artist Dean's Past Designs.


text:
/* jshint node: true */
'use strict';

var express = require('express');
var request = require('request');
var http = require('http');
var util = require('util');
var argv = require('minimist')(process.argv.slice(2));
if (!('Promise' in process)) {
    var Promise = require('promise-polyfill');
}

// EPISODES
if (argv.e) {
    /*
    id:         show TVDB code (required)
    link:       url or magnet to get episode. Support: youtube, magnet link,
                torrent, direct URL to video (required)
    season:     number of season
    episode:    number of episode

    quality:    1080p, 720p or 480p (optional)
    seeders:    number of seeders if link is a magnet or torrent file (optional)
    size:       size of the medium (optional)
    fileIndex:  if the magnet/torrent has several files, should specify
                the file index into it (optional for torrent or magnet link)
    */

	// Variables
	// --------------------------------------------------------
	var quality = '720p';
	var apiEndpoint = 'https://www.popcorntime.ws/api/eztv/';
    // --------------------------------------------------------

    // helpers
    var callApi = function(url) {
        return new Promise(function(resolve, reject) {
            request.get(url, function(error, response, body) {
                if (!error && response.statusCode === 200) {
                    var result;
                    try {
                        result = JSON.parse(body);
                    } catch(e) {
                        resolve([]);
                    }
                    resolve(result);
                } else {
                    resolve([]);
                }
            });
        });
    };

    callApi(apiEndpoint + 'shows/').
        then(function getPageUrls(pageUrls) {
            return Promise.all(
                pageUrls.map(function(onePageUrl) {
                    return callApi(apiEndpoint + onePageUrl);
                })
            );
        }).
        then(function fetchPageUrls(shows) {
            return Promise.all(
                Array.prototype.concat.apply([], shows).map(function(oneShow) {
                        return callApi(apiEndpoint + 'show/' + oneShow._id);
                    }
                )
            );
        }).
        then(function getShowDetails(details) {
            return Promise.resolve(
                Array.prototype.concat.apply([], details).filter(
                    function(oneShow) {
                        return typeof oneShow.tvdb_id === 'string' &&
                                      oneShow.tvdb_id.length > 4;
                    }
                ).map(function(oneShow) {
                    return oneShow.episodes.filter(function(oneEpisode) {
                        return oneEpisode.torrents.hasOwnProperty(quality);
                    }).filter(function(oneEpisode) {
                        return /^(magnet|http)/.test(
                            oneEpisode.torrents[quality].url
                        );
                    }).map(function(oneEpisode) {
                        return {
                            // _id: oneShow._id,
                            id: oneShow.tvdb_id,
                            link: oneEpisode.torrents[quality].url,
                            season: oneEpisode.season,
                            episode: oneEpisode.episode,
                            quality: quality
                            // seeders: oneEpisode.torrents[quality].seeds
                            // eztv api always return with 0 seeders so
                            // it is useless in this case
                        };
                    });
                }).reduce(function mergeShows(soFar, current) {
                    return soFar.concat(current);
                }, [])
            );
        }).
        catch(function(e) {
            return Promise.resolve([]);
        }).
        then(function(result) {
            console.log(JSON.stringify(result));
        });
}

redpajama_set_name: RedPajamaGithub


text:
Awesome Autonomy: The Future Force and RoboBoats
For Immediate Release: July 15, 2016
By Sierra Jones, Office of Naval Research
ARLINGTON, Va.—The future of naval engineering was on display last week, as 13 teams of high school and college students did battle at the ninth annual RoboBoat Competition in Virginia Beach, Virginia.
The competition—sponsored by the Office of Naval Research and the Association for Unmanned Vehicle Systems International Foundation—is a robotics contest where teams program their student-built autonomous surface vehicles to navigate through a series of water-based challenges.
"Every challenge in the competition is designed to mimic real-life maritime missions," said Kelly Cooper, a program officer in ONR's Sea Warfare and Weapons Department, Ship Systems and Engineering Research Division. "This competition really tests the engineering design and autonomous capabilities of the boat—as well as helps these students develop the engineering skills needed to be successful in a possible future in the naval research community."
Teams had two mandatory tasks and five missions to complete this year, all having to be done fully autonomously with no human guidance or intervention.
The mandatory tasks demonstrated the quality of each boat design by testing its propulsion, speed, navigation and basic sensing abilities. All of these tasks had to be successfully completed for any mission challenge points to be awarded.
This year's mission challenges were designed to showcase the boat's autonomous capabilities and included obstacle avoidance, automated docking, acoustic beacon positioning, launch, recovery and communication with an autonomous underwater vehicle, and finally, return to dock.
"We know that students want to win, but we hope they find the learning process rewarding as well," said Cooper. "We want them to walk away with experience and understanding of how their skills can be used to help the Navy, the Marine Corps, the Coast Guard and the nation."
Autonomous vehicles have grown in importance in recent years, with Chief of Naval Operations Adm. John Richardson stressing the importance of autonomy and unmanned systems in A Design for Maintaining Maritime Superiority.
Recent naval-sponsored programs—including EMILY [Emergency Integrated Lifesaving Lanyard], Sea Hunter, Autonomous Swarmboats and Low-Cost Unmanned Aerial Vehicle Swarming Technology (known as LOCUST)—are just beginning to scratch the surface of the types of support autonomous and unmanned systems will be able to provide to warfighters, from coastal surveillance to water rescues, and from surface warfare to port security and special operations.
"As the science behind autonomous and unmanned systems continues to improve, you will begin to see more autonomous missions which free Sailors and Marines for other tasks and protects them from some of their dangerous duties," said Cooper. "It's important that students participating in programs like RoboBoat know that they are a part of that process—they are fostering innovation through competition for the next generation of these types of naval systems."
Georgia Institute of Technology was this year's biggest winner, bringing home the top prize of $10,000. Florida Atlantic University won second prize and $4,000; Institut Teknologi Sepuluh Nopember took third and $2,500; and the Daytona Beach Homeschoolers came in fourth, earning $1,500. Smaller awards of $1,000 and $500 in various special award categories went to the University of Ulsan, Institut Teknologi Sepuluh Nopember and Georgia Institute of Technology.
Other participants were Embry-Riddle Aeronautical University, Old Dominion University, SRM University, U.S. Naval Academy, Universitas Indonesia, University of Michigan and the University of West Florida.
Sierra Jones is a contractor for ONR Corporate Strategic Communications.


After doing some online reading/research, it appears to me that the stock 318 in my "new" 1973 Duster underwent some changes to make it conform to emissions restrictions in the early 1970s. As in, a 1970 318 probably had more kick to it than my 1973 318. For example, the timing on my distributor is "supposed" to be top dead center (according to the emissions sticker under the hood!) but my gut tells me it would rather be advanced.
What changes were made and can I, uh, unmake them?
Can the "book" timing" numbers. Fix the mechanical advance so you can boost initial/idle timing and not have your total number be out of bounds.
A stockish 318 will like 10-14 initial timing and maybe in the 34-36 range for total. Both of those numbers are with vacuum advance disconnected and plugged.
It will run like an entirely different car with more initial timing.
Indeed so! Apply all hot rodded tricks and as power. The MoPar engines book is excellent. Put base the book for your current engine. Summit, Jegs, Manciniracing all carry these books.
In 1970 the 318 was 8.8:1 compression.
In 1973 it was 8.6:1.
My bone stock (except for dual exhaust) 73 318 pings like hell on any more than 0* advance running 87 octane. 89 does not help, and I ain't putting 93 in a 73 318-2 motor.
Chrysler claims that dual exhaust was good for 20HP. I'd do that first.
After I get my rear freeze plugs replaced, I'm going to start base lining 1/8 mile times, and then start some mods. My goal is to keep or increase my 15 MPG and 87/89 octane requirement, while adding some useable power/torque and increasing the "fun factor".
I've got some studying to do. What book in particular? I've found two that seem similar - any preferences?
I have to learn how to set total timing, how to deal with mechanical vs. vacuum, etc.


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For three quarters, the Puente cohort stays with the same instructor through EWRT 211 and Reading 211, EWRT 1A, and EWRT2. By the end of the first year, all Puente students who successfully pass the English and Reading courses will be UC and CSU transfer ready for their English and Critical Thinking requirements.
Puente students have regular meetings and guidance from the same counselor until they transfer to a four-year university. They also take three classes, HUMA 20, CLP 70, and COUN 80X that focus on academic planning, career exploration and student success and leadership skills.
Each Puente student is matched with a professional from the community who volunteers his or her time to offer the student new perspectives on career and education pathways.


text:
"Do You Think That I'm A Fool" by Caroline
Garth Thomas September 1, 2021
"Do You Think That I'm A Fool" is the empowering new track from pop singer Caroline. For every bit that Caroline sounds delicate, she's just as strong. This pop song is anthemic and powerfully entertaining. Blissful and elegant all-at-once, the song's undercurrent is fit to be primetime ready. Caroline's care for the fine tunings for everything pop, mixed with a dash of EDM makes "Do You Think That I'm A Fool" one convicting modern song.
TIK TOK: https://www.tiktok.com/@officialcarolines_music?lang=en
As smooth as Caroline sounds, it's the singer's powerful impact that creates the biggest bang. She's never out of character, so it seems, in her quest to create a song that glides its way into the listener's soul. This song is a pop song, yes, but it also feels bigger than just what you might listen to in passing. I think modern audiences are almost conditioned to give a song two or three seconds before skipping. This one really marinated with me. I slipped away, deep into her harmonies. Caroline has a way of caressing the words, giving the listener just the right amount of leeway with the words to take flight. This song, to me, is about strength and facing the day. It's about not holding back and being proud of accomplishments but acknowledging setbacks. I think you get a very clear picture that Caroline is a confident, not brash, artist.
You can be so vain, she sings. Her voice is made for pop music. She sounds more on the younger side, but that's not to say she doesn't sound believable. I think a lot of younger audiences will relate to this particular line, and the song in general, because you're dealing with young relationships. Young audiences are still navigating relationships and going through self-discovery. People can be selfish, or in this case, vain to think that they are not the problem and blame others. The fact that Caroline calls out this particular person as being vain is pretty cool.
Caroline never lets the rousing beat drown her vocals. I liked the tones, much like a summer day, with bursts of positive energy running throughout. The percussion arrangement reminds me a lot of the head bopping you do while in the car – it's just a nice groove space to occupy. It blends so well with the textures of the song and Caroline's flavorful voice. She's real. She makes it sound easy, with her voice bouquet-like and expanding with each listen. I can easily see this song being a 'live-show' favorite with its dance-worthy beats and happening tones.
This is the type of song that really lends itself to being a group, singing along. "Do You Think That I'm A Fool" just begs to be listened to in a concert or festival setting. The verdict? I think you can read between the lines and know that I'm giving this high marks. It's a fun song, with a potent message snuck between the measures. Caroline is one to watch and I'm definitely going to keep her on my radar.
Garth Thomas
Software programmer/engineer, music, film, art and literature lover, Red wine connoisseur, nature photography, plays cello, loves his cat, world traveler
"Alaska" by Little Hurt
Garth Thomas July 28, 2020
Greye drops new Single/Video
Garth Thomas March 14, 2020
Kendra & The Bunnies – Of Vinyl
Garth Thomas August 25, 2020
Interview with Kelvin Frazier
Garth Thomas November 13, 2019
Jason Momoa to star in new Netflix revenge thriller
Celebrity lawyer alleges R. Kelly paid $2 million to silence child pornography victim


When a rental applicant can't see a property in person it is possible to show, sell, and sign the lease onlvacaine. As 92% of tenants now search for a property online, why not manage the whole rental process online?
Do you have to view a property before renting?
Tenants should view a property before renting and can do so in person or online. Your prospective tenants may be from out-of-state or those who are relocating. Documenting your property online offers these applicants the option to view remotely. It allows for 24/7 showings and units to be presented before current tenants vacate. Additionally, it removes coordinating showings in person whilst the property is currently occupied.
Online processes have streamlined rental applications for tenants and landlords. Video tours allow tenants to view your rental from any location. Likewise, landlords can capture rental application data online. They can also process tenants screenings and lease applications without a face-to-face meeting.
In some cases, the online presentation of your property can sell tenants to a rental they haven't seen in person. Online presentation requires video and photography with specific need-to-know details documented in writing.
A walk-through video of your rental will offer the viewer an immediate sense of what the property is like. Before filming, your property must be staged, clean and clutter-free. To maximize the visual sense of space, switch on lights and open curtains and blinds for natural light. Have a walk-through to familiarise yourself with features to capture as selling points. Do highlight deal breakers, such as storage space, air-conditioning or a well-equipped kitchen. Also, capture the front of the property and the surrounding area. Don't leave anything out! A prospective tenant taking a rental tour in person would see everything. You don't want tenants to discover something unseen in person after an online viewing.
The photography of your property should be high-quality and informative. For example, a photo can inform a tenant if your property has parking, washing/dryer facilities or is fully furnished. Displaying these details visually can explain the property in place of text, which can be a headache for tenants to read through. At Blueground, we opt to have properties photographed by a team of professional photographers who shoot and edit our images for rental viewing online. We are also bringing virtual tours to our furnished apartment units worldwide so that our business executive tenants can view the property before arriving.
In addition to photography, the written part of a rental advertisement should clearly describe the property and its amenities. For readability, post this information in bullet points, with details on rental fees and terms of the lease. Is your rental pet-friendly? Don't leave out these extra details that can be key selling points. Also, let tenants know upfront what qualifying checks will be required for tenant screenings. However, don't publish the actual address of your property. Instead, add cross streets to advertise your location.
Location is an important factor for renters. Make use maps to highlight local amenities and transportation. Also, consider making a local area guide to inform interested prospects of the lifestyle on offer in the area. At Blueground, we have all this information at hand for our tenants through our guest services app.
Providing information on these points will answer common questions tenants often respond with. In turn, this can speed up the rental process leading to signing a lease online.
Now you have completed the steps required for online viewing, you can make sure it has maximum exposure by listing it. To advertise online you can add your property to the main free rental listing sites. Posting on social media forums such as local Facebook groups seeking rentals in your area is also effective. Or, you can hire an online agent to manage the listing on your behalf.
To sell your rental to a tenant without viewing in person and get that lease signed, you need to establish a personal connection online. It's important to be at ease making video calls and potential property walk-throughs via Skype/Facetime. Make sure your communication across channels has a professional and polite tone. This includes how you compose text and email communications, which are only effective if you reply in a timely manner. Written communications should be composed with full sentences and spell checked with proper grammar. When fuller explanations are required, schedule a phone call. You never know when waiting over a weekend to reply could mean losing out on that dream tenant to another apartment.
Social media can also be used to build a community of interested renters. If they don't sign up to the rental, they may do in the future or recommend to another prospect. Providing testimonials from previous renters is another way to build assurance with your applicants when viewing and renting online.
Fully documenting your rental upfront for online viewing allows it to be toured by a global audience, many times over. A master file of sorts, you won't need to update this documentation unless you update the property. Interested prospects can decide if they are interested before contacting you, eliminating tenants that are unsure. You are also opening up your property to the rental market that is relocating to your city from out-of-state or from overseas. Your property can be filmed on your cell phone or tablet.
However, high-end rentals are often filmed and photographed by professionals. If you have a luxury listing consider hiring a videographer to keep up with competitors on the market. They will have access to high-quality camera gear and drones to capture aerial footage, with expertise on how to edit. A good video tour is like a friend going through the property on behalf of the tenant. If you provide this online viewing experience you can convert the tenant applicant process from viewing online to signing a lease online.
Blueground modernizes the rental process offering viewings, tenant screening and signing a lease online. If this interests you, drop us a line to find out more about how we can draw up the best apartment listing and have it rented year-round.


This section contains links to Hertfordshire County Council Highways, who are responsible for maintaining and repairing the roads and pavements in the district.
You can report a fault or obstruction with a road, pavement or street light using the on-line fault reporting service.
To report a problem with a street name plate, please contact our Customer Service Centre on 01923 776611 or enquiries@threerivers.gov.uk.


text: Toying with ncurses