text:
Beating drums stir the nation's soul
WORK OF ART: The house of a traditional drum craftsman in Đọi Tam Village. VNA/VNS Photo: Minh Hiếu
At any number of social and cultural events around Việt Nam, especially traditional festivals, drums feature as the centrepiece of almost all activities.
They are often used to offer a warm welcome to guests, signal when school begins or ends, and accompany musical performances at weddings, longevity celebrations, and funerals.
Depending on the event, drums could either create an atmosphere of joyful union or sad separation.
When festival drumbeats fill the air, farmers put on their best clothes and head out to celebrate. Drums have become a key part of many community activities held throughout the length and breadth of the country.
Though drums are readily found in traditional Vietnamese culture, those with the best quality are only made in a few areas, among which is ancient Đọi Tam Village in the northern province of Hà Nam.
Located at the foot of scenic Đọi Mountain in Duy Tiên District, the village is renowned not only for making drums for more than a thousand years but also for creating the largest 'thunder' drums in the country, with two of the biggest played at festivals celebrating the 1,000th anniversary of Thăng Long – Hà Nội capital in 2010.
LIVELIHOOD: A villager focuses intently on making a drum. The traditional craft provides a living to all local people. VNA/VNS Photo Minh Hiếu
Đọi Tam is a long-standing traditional craft village that complements the typical features of northern Vietnamese culture via its drums.
All villagers, from old to young, know the legend of their ancestors – the two brothers Nguyễn Đức Năng and Nguyễn Đức Bản.
The legend says that when the two heard about Emperor Lê Đại Hành's return to their village to hold a royal ploughing ceremony to promote agriculture, they immediately chopped down the biggest jackfruit tree in their garden and killed the biggest buffalo to get wood and leather to make a huge drum in welcome.
Thus, in the spring of the 7th year of Emperor Lê Đại Hành's reign (987), an unforgettable ploughing ceremony was held in Đọi Tam to the unique drum sounds from Nguyễn brothers.
The resounding beat of their drum saw the two honoured as "Trạng Sấm" (Thunder Masters), in recognition of their skills in making the best large drums.
Throughout history, drum making has always played an important role in communal life in Đọi Tam.
Its drums are special as they are used for a host of different purposes, such as worshipping, folk art performances, and transmitting information.
The village's 700 households include 600 that are skilled in drum-making, with four recognised as master artisans.
Making a good drum requires great care and expertise in selecting and assembling materials. Precision is key in creating the right sound for each, and the task often involves secrets handed down through the generations.
SOUND SET: The Đọi Tam drum team prepares to perform at a festival in the northern province of Hải Dương. Photo langtrongdoitam.com
Lê Ngọc Hùng, one of the artisans and also the owner of a major drum production workshop in Đọi Tam, said his facility had produced tens of thousands of drums of all kinds for both local sale and export.
He emphasised the importance of selecting the best materials.
"The wood for the body of the drum must come from an old jackfruit tree with a curvature that matches the requirements of each type of drum," he explained. "The buffalo skin used for the drumhead must be scraped clean and then stretched and dried, so it is tough and will not rot as time goes by."
Beyond materials, he said, a superior-quality drum very much depends on the skill of the artisan, as different drums produce different sounds.
Hùng is also focusing on training the younger generation in the village, to preserve the traditional craft.
The most important thing about drum making, he believes, is not the craftsmen's reputation but their heart and soul.
Craftsmen not only need to be enthusiastic and creative and possess a sense of exploration, but also be keenly aware of the need to preserve the village craft by motivating the generation that follows.
Meanwhile, artisan Phạm Chí Khang, chairman of the village's Association of Đọi Tam Drum Making and Trading, said that assembling the drum barrel is the most important stage.
"The biggest drum I ever made was a royal drum 3.1 metres high and 2.35 metres in diameter," he recalled. "The largest drum in Southeast Asia was made by Đọi Tam villagers. The larger the drum, the more precision required and the more time needed."
If there is ever a flood, fire, or death in the village, a drum is used as a call to arms or to announce a period of mourning.
During Việt Nam's resistance wars against foreign invaders, the sound of a drum roused soldiers into action around the countryside.
A drum is also used as a mark of respect during chèo (traditional opera) or ca trù (ceremonial singing) performances, with a connoisseur hitting the side of the drum with a drumstick at appropriate moments to express his appreciation.
Trần Đình Tiến, head of the Culture and Information Section in Duy Tiên District, said that, in the past, drums were also used in combat against foreign invaders.
"Drumming attracts people to participate in community activities," he said. "The drum is an indispensable part of festivals because it rouses the spirits of the ancestors."
Đọi Tam produces many types of drums, ranging from those for chèo singing to those for festivals or schools, in sizes ranging from 20cm to 2m in diameter. Village craftsmen made the largest drum in the country, which is now at the Temple of Literature in Hà Nội and is more than 2m in diameter, 2.65m in height, and 10 cubic metres in volume.
According to artisan Khang, the village produces about 25 different types of drums. Those for rituals or sacrifice rites are called spiritual or worship drums, and those used at community festivals are called festival drums, while those used at pagodas differ from those used in temples or communal houses.
"For example, a drum used in a communal house should be big," he explained. "Its sound represents the tutelary god who rules the village. The drum in a temple, meanwhile, should be of medium size. And a pagoda drum can be small."
A drum is made in three stages: leather tanning, barrel making, and drumhead stretching. Craftsmen use buffalo skin for the drumhead. They first shave the buffalo skin until it becomes quite thin, and then dry it in the sun. The barrel is made from jackfruit wood. Stretching the drumhead is the most difficult task, because it requires skill on the artisan's part to assess the sound being created.
According to Khang, drum makers choose a certain pattern to suit each type of drum.
"The pattern will also depend on the drum's purpose," he said. "For example, clouds are often drawn on festival drums. For pagoda, temple, or communal house drums, common patterns include dragon-shaped clouds. Temple drums may also have phoenixes. The patterns on drums used in art troupes will have brocade designs or something similar to the motifs of bronze drums. Drums for cultural events, meanwhile, are decorated with cranes. The drumheads for festival drums must also, of course, have light rays breaking through to symbolise the world."
The village has also formed a drumming team with dozens of members that perform at festivals nationwide.
In the decade since its establishment, the team has become widely known for its jubilant sound, which at times resembles troops setting off for battle.
There are 62 companies involved in drum production and trade in Đọi Tam, which help improve local living standards.
Thanks to the traditional occupation, no one in the village is unemployed and local living standards have indeed been rising in recent years.
"In 2007, Đọi Tam was one of the first 12 handicraft villages granted the title 'Outstanding Craft Village of Việt Nam' by the Việt Nam Craft Village Association," Khang said.
"Other villages also make drums but they can't match the characteristics of ours. Many unsuccessfully try to imitate our style." – VNS
Craft artisans traditional craft village
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So that little hearts keep beating


text:
Gmina Søndersø (duń. Søndersø Kommune) była w latach 1970-2006 (włącznie) jedną z gmin w Danii w okręgu Fionii (Fyns Amt).

Siedzibą władz gminy było miasto Søndersø.

Gmina Søndersø została utworzona 1 kwietnia 1970 na mocy reformy podziału administracyjnego Danii. Po kolejnej reformie w 2007 r. weszła w skład gminy Nordfyn.

Dane liczbowe
 Liczba ludności: (♀ 5775 + ♂ 5459) = 11 234
 wiek 0-6: 8,8%
 wiek 7-16: 14,2%
 wiek 17-66: 64,3%
 wiek 67+: 12,7%
 zagęszczenie ludności: 62,1 osób/km² (2004)
 bezrobocie: 5,0% osób w wieku 17-66 lat
 cudzoziemcy z UE, Skandynawii i USA: 83 na 10 000 osób
 cudzoziemcy z krajów Trzeciego Świata: 125 na 10 000 osób
 liczba szkół podstawowych: 6 (liczba klas: 78)

Zobacz też
 Gminy w Danii
 podział administracyjny Danii

Bibliografia

 Danmarks Statistik – statistikbanken.dk

Søndersø

redpajama_set_name: RedPajamaWikipedia


text:
Q: sof-hda-dsp sound issues So, I noticed that plugging in my headphones today and yesterday didn't do anything. The headphones weren't recognized (i.e. I had no option to select if they were headphones or headset or mic) and there was no sound coming from them. I tried this solution, but that didn't help. I can get my sound back by selecting the headphone microphone "sof-hda-dsp" as input, strangely enough, as in this post, but I'm still not able to select what kind of device I plugged in. Moreover, when I remove the headphones again, the sound does not come through the speakers.
I would like things the way they were before...
By the way, the name "sof-hda-dsp" is not something I've seen before. Could it be a driver update? I checked my synaptic history, but I think it's incorrect. There's only history from last february, but I obviously did updates since then.
I'm working with Ubuntu 18.04 on a Dell laptop. Any other info that would be useful?
EDIT: sometimes the headphones don't work at all and the sound only comes from the speakers OR when it does miraculously start working again it sounds noisy and the high frequencies are filtered out (I think)

redpajama_set_name: RedPajamaStackExchange


text:
Lexington Partners Announces Leadership Changes
– Wil Warren Named President –
– Wil Warren and Pål Ristvedt to Co-Chair Firm's Secondary Investment Committee –
New York – June 20, 2018
Lexington Partners ("Lexington"), one of the world's largest and most experienced independent alternative investment managers in the secondary market, has appointed Wilson S. "Wil" Warren as President of the Firm, it was announced today by Brent R. Nicklas, Founder and Chairman. Mr. Nicklas also announced that Mr. Warren and Pål B. Ristvedt have been named Co-Chairs of the Firm's secondary investment committee.
Mr. Warren, who joined Lexington in 1994, leads Lexington's U.S. secondary investment activity, originating and evaluating secondary purchases of private equity and alternative investments. Mr. Ristvedt joined the Lexington team in 2001 and today guides the Firm's non-U.S. secondary investment activity from London.
Mr. Nicklas said, "I could not be more proud to announce these new leadership responsibilities. The Lexington team is tested and highly experienced, having successfully led our funds and effectively carried out Lexington's investment strategies over the past two decades.
"Together, Wil Warren and Pål Ristvedt have been important contributors to the Firm's success, creating significant value for our limited partners," continued Mr. Nicklas. "They are proven investors with strong track records and their industry leading experience in the origination and evaluation of secondary transactions has been central to Lexington's continued innovation in the global secondary market. The promotions of Wil and Pål reflect both the growth of Lexington and recognition of each individual's substantial and ongoing contribution to the Firm's success and direction."
In conjunction with these appointments, Mr. Nicklas announced that he has assumed the role of Founder and non-executive Chairman. Mr. Nicklas will continue to be a significant investor in Lexington, but will no longer be actively engaged in the operations of the Firm.
"Having been part of Lexington Partners for nearly 25 years, I am humbled by the responsibility I am assuming in this new role and could not be more excited to partner with Pål and the entire Lexington team to maintain Lexington's leadership position in our investment strategies in the secondary and co-invest markets," said Mr. Warren . "We are incredibly energized as we look to the future. At the same time, all of us at Lexington want to express our sincerest gratitude to Brent Nicklas as he takes on a new role within the firm as Founder and non-executive Chairman. Brent is a giant in our industry and a true visionary who helped pioneer investment strategies in the secondary and co-investment markets."
Lexington also announced that Marshall Parke, who joined the Firm in 2000, has assumed the role of Vice Chairman. Mr. Parke has guided Lexington's non-U.S. activity from London and played an important role in building the Firm's international business.

redpajama_set_name: RedPajamaCommonCrawl


Kristine Custodio is a paralegal for Butterfield Schechter LLPspecializing in ERISA/employee benefits law, business law and civil litigation. She earned a Bachelor of Arts degree in Human Development from California State University at Long Beach where she was on the Dean's Honor List. She completed her paralegal studies at UCSD in 2004 and became a Certified Paralegal in 2006. She is a Notary Public. She has also obtained her Human Resource Management certificate from UCSD and serves as an administrator for an adult residential facility for developmentally disabled adults. Kristine is the chair of SDPA's school liaison committee.


text:
P. C. Sreeram
(Redirected from P. C. Sriram)
P. C. Sreeram (born 26 January 1956) is an Indian cinematographer and film director who works mainly in the Indian film industry. He is an alumnus of the Madras Film Institute. Apart from his work as a cinematographer, Sreeram was much appreciated for his directorial venture Kuruthipunal , a remake of the 1994 Hindi film Drohkaal. The film was submitted by India as its official entry to the Oscars in 1996, but was not nominated. Sreeram is well known for his association with Mani Ratnam and received critical acclaim for his work in films such as Mouna Ragam, Nayakan, Agni Natchathiram, Geethanjali, Alaipayuthey, O Kadhal Kanmani. He has worked as a cinematographer in over 30 films spanning across Tamil, Telugu, Malayalam, Kannada and Hindi language, besides directing three films and a few TV commercials. He is the one of the founding members of Indian Society of Cinematographers (ISC).
PC Sreeram
Sreeram in 2015
(1956-01-26) 26 January 1956 (age 63)[1]
P. C, P. C. Sriram
Madras Film Institute
Cinematographer, Film Director
P. R. Sundaram Iyer (grandfather)[2]
National Film Award for Best Cinematography (1987)
1 Early life and family
Early life and familyEdit
Sreeram was born on 26 January 1956 in Madras, (now Chennai, Tamil Nadu). He was the third child in the family and has two sisters. Sreeram's aspiration towards films grew much during his childhood days.[3] He was educated at the Vidya Mandir Senior Secondary School, Mylapore, Chennai. As a student he was not interested in studies and barely managed to pass the exams.[3] He had a passion for photography and after many years of struggle he joined the Madras Film Institute to pursue a course in cinematography.[3][4][5] Together with his friends Kamal Haasan, C. Rudhraiya, Santhana Bharathi, Radharavi, R. C. Sakthi and few others they were called "sanmac" group where they used to join together at a hotel in Chennai and share their learnings about cinema and future dreams of making a perfect cinema.
Sreeram is married and had a daughter named Swetha who died in 2010. His son Skanda is pursuing his studies in Australia.[6] His niece Preetha Jayaraman, a cinematographer in the Tamil Film industry, was inspired to her calling largely by her uncle's work in the field.[7]
Sreeram received his diploma in motion picture photography from the Madras Film Institute in 1979,[8] and made his cinematic debut in the early 1980s.[1] One of his earlier works, Meendum Oru Kaathal Kathai (1985), won the Indira Gandhi Award for Best Debut Film of a Director in 1984.[1] Following a few commercially unsuccessful releases, he worked with Mani Ratnam for the first time in Mouna Ragam (1986).[9] The film gave a much needed breakthrough for both of them. Following the film's success, the pair went on to work in Nayagan (1987). The film went on to win three National Film Awards at the 35th National Film Awards; Sreeram was awarded that year's National Film Award.[1] He used new techniques in the camera for their next film Agni Natchathiram and was praised very much for his work. Sreeram shot all of Ratnam's films until Geethanjali (1989 film) (1989). The film was both critically acclaimed and commercially successful besides winning the National Film Award for Best Popular Film Providing Wholesome Entertainment and seven Nandi Awards—including the Best Story and Best Cinematography awards for Ratnam and Sreeram, respectively.
During the early 1990s, Sreeram worked in Gopura Vasalile (1991) and Thevar Magan (1992).[4] He made his directional debut in 1992 with Meera, starring Vikram and Aishwarya in the lead roles.[9] The film had a delayed release and was a poor grosser at the box-office. The following year, he renewed his association with Ratnam in the latter's Thiruda Thiruda.
Sreeram directed his second film Kuruthipunal (1995), a police story based on the Hindi film Drohkaal (1994). The film was India's official entry to the Oscars in 1996.[4] It was showcased at the Rotterdam International Film Festival under the category "Director in Focus" eight years after its release.[10] In 2004, he directed Vaanam Vasappadum, the first Indian film to make use of high-definition digital technology.[11][12] The film was screened at the Mumbai International Film Festival and the ninth International Film Festival of Kerala.[12] In 2007, Sreeram made his Bollywood debut with R. Balki's Cheeni Kum.[13] Since then, Sreeram has shot all of Balki's films—Paa (2009), Shamitabh (2015), Ki & Ka (2016) and Pad Man (2018).
LegacyEdit
Sreeram is well known for his longtime association with Mani Ratnam, Moulee and Kamal Haasan. He received critical acclaim for his work in films such as Mouna Ragam, Nayakan, Geetaanjali, Thevar Magan, Thiruda Thiruda and Alaipayuthey.[14][13] He has mentored some of the prominent cinematographers in the Indian film industry including Jeeva,[9] M. S. Prabhu, Ramji, Chezhiyan, K. V. Anand,[15] Tirru,[16] Balasubramaniem, K. V. Guhan, Nirav Shah and Arvind Krishna.[17][18][19] In January 2016, Sreeram was elected as the president of South Indian Film Cinematographers Association.[20]
FilmographyEdit
As cinematographer
Vaa Indha Pakkam (1981)
Oru Varisu Uruvagiradu (1982)
Nandri, Meendum Varuga (1982)
Meendum Oru Kaathal Kathai (1985)
Koodum Thedi (1985; Malayalam film)
Poove Poochudava (1985)
Mouna Ragam (1986)
Nee Thana Antha Kuyil (1986)
Nayakan (1987)
Dhoorathu Pachai (1987)
Agni Natchathiram (1988)
Apoorva Sagodharargal (1989)
Geethanjali (1989; Telugu film)
Idhaya Thamarai (1990)
Gopura Vasalile (1991)
Meera (1992)
Amaran (1992)
Thevar Magan (1992)
Roja (1992)
Thiruda Thiruda (1993)
May Madham (1994)
Subha Sankalpam (1995; Telugu film)
Kuruthipunal (1995)
Shanti Shanti Shanti (1998; Kannada film)
Mugam (1999)
Kadhalar Dhinam (1999)
Mugavaree (2000)
Alaipayuthey (2000)
Kushi (2001; Telugu film)
Vaanam Vasappadum (2004)
Kanda Naal Mudhal (2005)
Varalaru (2006) (1 song)
Cheeni Kum (2007; Hindi film)
Dhaam Dhoom (2008) (Partly completed)
13B (2009; Hindi film)
Yaavarum Nalam (2009)
Paa (2009; Hindi film)
Ishq (2012; Telugu film)
I (2015)
Shamitabh (2015; Hindi film)
O Kadhal Kanmani (2015)
Ki and Ka (2016; Hindi film)
Remo (2016)
Pad Man (2018; Hindi film)
Naa Nuvve (2018; Telugu film)
Praana (2018 Malayalam film)[21]
Psycho (2018)[22]
As director
Meera (1992; Tamil film)
Kuruthipunal (1995; Tamil film)
Vaanam Vasappadum (2004; Tamil film)
AwardsEdit
1987 – National Film Award for Best Cinematography for Nayakan[1]
1990 – Nandi Award for Best Cinematographer for Geethanjali
2000 - Filmfare Award for Best Cinematographer - South for Alaipayuthey
2006 – Vijay Award for Best Cinematographer (Special Jury)[23]
2013 – CineMAA Award for Best Cinematographer for Ishq
2013 – CineMAA Award for Life Time Contribution
2013 – Nominated: SIIMA Award for Best Cinematographer for Ishq
^ a b c d e "35th National Film Awards" (PDF). International Film Festival of India. p. 41. Retrieved 12 August 2012.
^ S., Muthiah (15 May 2006). "Helping green Madras". The Hindu. Retrieved 15 May 2015.
^ a b c Pain, Paromita (28 February 2004). "Beyond the future". The Hindu. Retrieved 12 August 2012.
^ a b c "P C Sreeram – He can make pictures look real, pretty, stark". Sify. Retrieved 12 August 2012.
^ "P. C. Sriram" (PDF). cameraworking.raqsmediacollective. Retrieved 15 August 2012.
^ "Snap, click, roll". India Today. 6 March 2008. Retrieved 7 November 2012.
^ Bal, Mieke (2004). Narrative Theory: Interdisciplinarity. Taylor & Francis. p. 323. ISBN 978-0-415-31661-3.
^ a b c Rajitha. "My goal is to be different". Rediff. Retrieved 12 August 2012.
^ Rangarajan, Malathi (30 July 2004). "Award, accolade and much more". The Hindu. Retrieved 12 August 2012.
^ Frederick, Prince (11 February 2004). "Is the future DIGITAL?". The Hindu. Retrieved 15 August 2012.
^ a b MovieBuzz. "P.C.Sreeram's film at MIFF". Sify. Retrieved 12 August 2012.
^ a b Ramnath, Nandini. "Sage – whispers Words of wisdom from PC Sreeram". Time Out Bangalore. Retrieved 12 August 2012.
^ "Cheeni Kum – A sugar free romance" (PDF). Eros International. Retrieved 12 August 2012.
^ Manmadhan, Prema (30 April 2011). "Zooming in on "trends of life"". The Hindu. Retrieved 12 August 2012.
^ Sangeeta (6 July 2007). "Realistic frames". The Hindu. Retrieved 12 August 2012.
^ Kamath, Sudhish (15 September 2011). "Zen and the art of light". The Hindu. Retrieved 26 October 2016.
^ Profile: DP – Balasubramaniem Cine Herald, 21 Apr 2011
^ "K. T. Balasubramaniem BIOGRAPHY (First look..)". Chennai Patrika. 14 February 2011. Archived from the original on 2 November 2011.
^ M, Suganth (12 January 2016). "PC Sreeram elected president of cinematographers association". The Times of India. Retrieved 13 January 2016.
^ R, Manoj Kumar (20 February 2018). "Nithya Menen's Praana is a one-actor movie made in four languages". The Indian Express. Retrieved 16 September 2018.
^ V, Lakshmi (3 September 2018). "Udhayanidhi turns 'psycho' for Mysskin". The Times of India. Retrieved 16 September 2018.
^ "Winners: Reliance Mobile Vijay Awards 2006". starboxoffice.com. Archived from the original on 26 July 2008. Retrieved 15 March 2014. CS1 maint: unfit url (link)
Wikimedia Commons has media related to P. C. Sreeram.
P.C. Sreeram on IMDb
Retrieved from "https://en.wikipedia.org/w/index.php?title=P._C._Sreeram&oldid=936382964"


text:
Q: Error loading JavaScript with jasmine-maven-plugin within Jenkins I am somewhat frequently receiving the following error loading javascript internal to our application while running Jasmine tests using the jasmine-maven-plugin. This seems to only happen when run in our CI environment (Jenkins) and does not happen every time the tests are run. I have verified that Jetty is started and listening on the specified port.
Has anyone encountered this before? If so, is there a solution to stabilize the build?
Plugin config:
<groupId>com.github.searls</groupId>
<artifactId>jasmine-maven-plugin</artifactId>
<executions>
    <execution>
        <goals>
            <goal>test</goal>
        </goals>
    </execution>
</executions>
<configuration>
    <debug>true</debug>
    <!-- Instruct plugin on where to find our require.js -->
    <specRunnerTemplate>REQUIRE_JS</specRunnerTemplate>
    <!-- Location of the JS source -->
    <jsSrcDir>${project.basedir}/src/main/webapp/web3/js</jsSrcDir>
    <!-- Location of the Jasmine Specs -->
    <jsTestSrcDir>${project.basedir}/src/test/javascript</jsTestSrcDir>
    <preloadSources>
        <source>vendor/require-2.1.9.js</source>
        <source>vendor/jquery-1.4.2.min.js</source>
        <source>utils/jasmine.extensions.js</source>
        <!-- Load the require.js config file. By default, jasmine-maven-plugin looks for require.js if not set by deprecated scriptLoaderPath property. -->
        <source>main.js</source>
    </preloadSources>
    <haltOnFailure>false</haltOnFailure>
</configuration>
</plugin>

The error:
[INFO]
[INFO] --- jasmine-maven-plugin:1.3.1.3:test (default) @ collaterate-pub ---
2013-12-31 10:52:34.521:INFO:oejs.Server:jetty-8.1.13.v20130916
2013-12-31 10:52:34.557:INFO:oejs.AbstractConnector:Started SelectChannelConnector@0.0.0.0:38921
[INFO] Executing Jasmine Specs
Dec 31, 2013 10:52:39 AM com.gargoylesoftware.htmlunit.html.HtmlPage loadExternalJavaScriptFile
SEVERE: Error loading JavaScript from [http://localhost:38921/web3/js/vendor/knockout-3.0.0.js].
java.io.IOException: Unable to download JavaScript from 'http://localhost:38921/web3/js/vendor/knockout-3.0.0.js' (status 404).
    at com.gargoylesoftware.htmlunit.html.HtmlPage.loadJavaScriptFromUrl(HtmlPage.java:1125)
    at com.gargoylesoftware.htmlunit.html.HtmlPage.loadExternalJavaScriptFile(HtmlPage.java:1059)
    at com.gargoylesoftware.htmlunit.html.HtmlScript.executeScriptIfNeeded(HtmlScript.java:399)
    at com.gargoylesoftware.htmlunit.html.HtmlScript$3.execute(HtmlScript.java:266)
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    at com.gargoylesoftware.htmlunit.javascript.JavaScriptEngine$HtmlUnitContextAction.run(JavaScriptEngine.java:664)
    at net.sourceforge.htmlunit.corejs.javascript.Context.call(Context.java:601)
    at net.sourceforge.htmlunit.corejs.javascript.ContextFactory.call(ContextFactory.java:507)
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    at com.gargoylesoftware.htmlunit.html.HtmlPage.executeJavaScriptFunctionIfPossible(HtmlPage.java:1005)
    at com.gargoylesoftware.htmlunit.javascript.background.JavaScriptFunctionJob.runJavaScript(JavaScriptFunctionJob.java:53)
    at com.gargoylesoftware.htmlunit.javascript.background.JavaScriptExecutionJob.run(JavaScriptExecutionJob.java:101)
    at com.gargoylesoftware.htmlunit.javascript.background.JavaScriptJobManagerImpl.runSingleJob(JavaScriptJobManagerImpl.java:328)
    at com.gargoylesoftware.htmlunit.javascript.background.DefaultJavaScriptExecutor.run(DefaultJavaScriptExecutor.java:162)
    at java.lang.Thread.run(Thread.java:662)


Mix mayonnaise, mustard and honey in small bowl. Spread 1 side of each toast slice with mayonnaise mixture. Layer 4 toast slices each with turkey, avocado and second toast slice. Top each with sprouts, tomato and third toast slice. Makes 4 sandwiches.


Because shipping is the responsibility of each seller on Tindie, shipping options may vary, depending on the rates they have calculated for their store. As Tindie continues to grow, so do where our community expands to. It is possible the seller has just not created a rate for yours yet. If you like, send a friendly message to the seller requesting your country and we are sure they will accommodate you!


I have to admit that I find this story of the transfiguration incident on the mountain a strange one. In comparison to the accounts of Jesus' teaching and healing it seems 'other-worldly'. Boundaries of time are crossed, and Jesus' human frame is changed into a glowing, almost ethereal, presence. No wonder then that some have claimed this is a resurrection appearance of Jesus shifted in time. But the Gospel-writers were both careful and purposeful in their accounts, so I don't think they made a mistake. No, the Transfiguration has to be a disclosure of something that, in one form or another, happened in the disciples' experience of Jesus present among them.
Eight days before the incident, Luke says, Jesus had spoken of his suffering, death and resurrection. He then went on to say that this experience of the cross, literally or metaphorically, would also be the lot of his followers: 'If any want to become my followers, let them deny themselves and take up their cross daily and follow me' (Luke 9.23). Perhaps the eight-day hiatus is there to indicate just how difficult for the disciples these thoughts were? Might they have argued and prayed and discussed and struggled with what Jesus had said? We don't know; but we do know that whatever was said and done in those eight days Luke links them to the Transfiguration. Why?
I think the clue is in verse 31, Moses and Elijah are talking to Jesus, and then it says, 'They appeared in glory and were speaking of his departure, which he was about to accomplish at Jerusalem.' In other words, their conversation is about those very things that Jesus had spoken of eight days previously – his suffering, death and resurrection. This is a detail unique to Luke and there's a word he uses that we should particularly notice – they were speaking of 'his departure' and the word that translates is exodos. Luke says that Jesus' death or is it his death, resurrection, and ascension, is a new Exodus.
Whatever they understood or misunderstood, Peter, John and James knew very precisely what Exodus was about. Like every devout Jew they rehearsed its significance again and again. They celebrated God's intervention to save his own people from slavery; they recognized the struggles involved; they honoured Moses as the determined leader of that journey to freedom; and they rejoiced in being called by God as a people in this remarkable act of deliverance. Here a people were freed and brought to new life despite their many failures. Remarkable! Exodus: the story of a God who loves and saves, and the story of a people redeemed – literally.
That you know Peter, John and James. Well, you more than know it, you've lived it your whole lives. And now you are going to experience nothing less than Exodus Plus – the glory breaks into our world anew, but now the liberator won't be Moses, his arms outstretched that the freed slaves can pass through the sea; but Jesus, his arms outstretched on the cross that the whole of humanity can pass to freedom. The glory of God is seen anew in Jesus who breaks the spiral of hurt, harm and vengeance. Look, says Luke, the glory of God's new exodus is here.
The three disciples are being urged to use what they already know well as a lens to see something remarkably new. Use what you know – but go beyond it. See your human experience made glorious by God's action. The Jesus you see is Jesus the Galilean you know but he is also bearer of God's glory here and now.
And what is the three's response? They are weighed down with sleepiness! It's as if it's still too much for them to take in. They are too dozy to make the connection. Perhaps Peter has an inkling of what this is about; if they stay there longer maybe he'll work it out. 'Let's build a shelter so that we've time to think.' Too late, Peter, it's time to come down from the mountain. It's time to recognise that what was true there in moments of glorious brightness is just as true in humdrum world of every day.
For it is the God who said, 'Let light shine out of darkness', who has shone in our hearts to give the light of the knowledge of the glory of God in the face of Jesus Christ (2 Corinthians 4.6).


Ayia Napa is on the southeast coast of Cyprus. One of the town's most important landmarks is the Monastery of Ayia Napa, dated back in the Venetian times.
All rooms have a balcony with a table and two chairs and a side view of the Mediterranean.


Owen Fiss has been a leading legal scholar for over thirty years, yet before 2001 it would have seemed unlikely for him to write about national security and the laws of war—his focus was civil procedure and equal protection—but when the War on Terror began to shroud legal proceedings in secrecy, he realized that the bulwarks of procedure that shield the individual from the awesome power of the state were dissolving, perhaps irreparably, and it was time for him to speak up.
The ten chapters in this volume cover the major legal battlefronts of the War on Terror from Guantánamo to drones, with a focus on the constitutional implications of those new tools. The underlying theme is Fiss's concern for the offense done to the U.S. Constitution by the administrative and legislative branches of government in the name of public safety and the refusal of the judiciary to hold the government accountable. A War Like No Other will be an essential intellectual foundation for all concerned about constitutional rights and the law in a new age.


text:
Q: jQuery UI effects How can I show a div growing from top and bottom with jqueryui effect?
I tried this code:
$('div#my').show('clip');

but it does not work.

A: Does slideUp or slideDown help you?
$('div#my').slideUp('slow');
$('div#my').slideDown('slow');

A: You can actually use animation without jQuery UI using .show( [duration] [, easing] [, callback] ).
The code for this would be $('div#my').show('slow');
For using custom effects such as clip, I would think your code would work as expected, but if not maybe your path to your jquery UI is off?
Here is a demo of your code working as expected: http://jsfiddle.net/ysHgp/

A: An other way is $('div#my').animate({ height: heightOfDiv_my }, "fast");


kalitiran on a a flat dish and pour in marinade.
Set aside for one hour.
fat and cheese, distributing fillings evenly.
metal truss and some string to use for twining.
oil until it becomes brown on all sides.
beef becomes tender (about 2 hours).
with the sauce it was cooked in.
can add a garnish of peppers and parsley.


Xesto is an early stage machine learning startup based in Toronto looking to change the way developers and creators approach touchless application development. We want to enable a touchless world across industries and be the catalyst for moving away from touchscreens and keyboards into a more fluid, intuitive experience.
Xesto is creating Wave, a PaaS for developers and creators to quickly train machine learning models to respond to gestures, and inputting these gesture models into applications, such as an interactive dashboard, through an API to have quick and accurate gesture recognition - make your application touchless in minutes. Their approach allows for rapid prototyping, easy customization and increased accuracy in the long term. It will be aggregating the largest machine learning gesture database in the world, and is building an ML training example search tool to give customers an easy and efficient way to access and use this database. Wave will be available for the Leap Motion, and soon, the iPhone for use in AR. Xesto's gesture platform solution is one of the critical content creation tools for AR and VR developers as the new user interaction moves away from mouth and keyboard into a more immersive paradigm.


OMG, Bob for sure isn't buying any now.
I did open it up to take a look. Everything looks OK to me ( with my limited knowledge). I reseated what I could see but it made no difference. They cut those wires pretty short - very little room to do anything in there.
After all the hassles I had a couple of years ago with my SRX series - subs, and tops (at a lot more money don't forget) - I won't complain too much as these DSR's have already served me very well indeed.
The love affair isn't over yet - we just have to overcome a bit of a hurdle in the relationship!
Did you put an ohm meter across the woofer while you had it open?
BUT, with 1 terminal disconnected.
If you leave the woofer hooked up, the meter will "see" the output of the amp-as well as the speaker. So you MUST separate them.
Maybe it's like an old carbureted Porsche - once and a while you have to put your foot in it and open 'em up to blow out the carbon!
Nope - I really don't know enough about the insides of powered speakers so I'm just goinig to leave it to the professional.
Better late than never, but a faulty woofer will often show open or short-circuit when metered.
You can also push gently on the centre of the cone (or just around the dustcap, keeping pressure even) to see if there are any scrapes. It should move smoothly.
I just got a call from the shop.
He told me he checked the woofer first and it was fine ( which I figured). Then he pushed all the switches in and out and moved the mic/line switch back and forth and all of a sudden on it came. He sprayed with some de-oxidizer and we are all good.
So, I'm really happy it wasn't something major but I wish I had moved the switches -I'd have found the problem right away. Never even thought of it. The mic/line switch has been in the same position since I purchased the speakers but it just goes to show that sometimes it is a good idea to move them back and forth....happy ending.
I'll have to add that to the PM checklist. Thanks Debbie, good to know.


text:
Ballplaying in Civil War Camps
By Larry McCray
Early Championships
What Was Rounders, Anyway?
What Was Town Ball, Anyway?
Original Writers
Bill Humber
Bob Tholkes
Bruce Allardice
Corky Gaskell
Debbie Shattuck
Howard Burman
Jeffrey Kittel
John and Kay Price
Mark Brunke
Richard Hershberger
Rob Loeffler
Protoball Search Aid
Add an Original Analytic
Add an Original Analytic with a Version Number
by Larry McCray, July 2009
Related: Civil War Camps Chronology
2 The Northerners Played a Lot More
3 The Northeasterners Played a Lot More: Teams from New York, Massachusetts, and New Jersey Account for Two-Thirds of All Union Army References
4 Ballplaying May Have Peaked in April 1863
5 The Seasonality of CW Ballplaying is Clear: Many Games Occurred in the Winter Camps
6 The General Importance of War-Camp Base Ball is Somewhat Strengthened
7 The Ballgame of Choice Was Base Ball, By a Large Margin
8 Base Ball Appears to Have Been a Leading Camp Diversion
9 Diaries and Regimental Histories Are Giving Us the Best Yield
10 Recent Finds
Bsallardice
The rise of recorded baseball playing in 1863 was due to the war situation, IMO. The regiments that came from the prime pre-CW baseball playing regions (mainly New England the Northeast) almost entirely served in the Army of the Potomac, the eastern/Virginia army. In early 1863, this army was in camp near Falmouth VA, separated from the Confederates by the Rappahannock River. In 1864, the same army was busy almost every day with the 24/7 actions of the Wilderness, Overland and Petersburg campaigns.
Plus while in camp in early 1863, reporters from newspapers (who liked to be based in DC, with its telegraph facilities and its fleshpots) had better access to the army, which was near DC. The war situation impacted the reporting of the play, as well as the soldier's chance to play.
The July 2018 numbers include 356 mentions. The additions don't significantly alter what Larry wrote about the tendencies. My impression is that Confederate accounts tend, more than northern, to mention the ball playing as "town ball" rather than "base ball," in part because formal "base ball" and ballplaying under the new "base ball" rules were confined to just a few prewar southern cities.
The NYC newspapers, particularly the Sunday Mercury, had a much better established tradition of reporting baseball games than newspapers elsewhere. In large part this explains the predominance of instances of Army of the Potomac / VA games being reported, since most NY units served in this army. Many of the reports from the west were from NY units that served out there.
Note: For a later and deeper account of base ball in the Civil War, see The 2018 Update by Bruce Allardice on Protoball.org. https://protoball.org/Ballplaying_by_Civil_War_Soldiers_1.0
In the current decade, two books have appeared on the role of base ball in the Civil War (Millen 2001; Kirsch 2003). Neither author lists all the references inspected, but close reading suggests that fewer than 50 references were then known.
The current Protoball collection of references to Civil War ballplaying now includes 375 finds. This page is an initial attempt to abstract the evidence now in hand. Brief Protoball descriptions of these references (a 45-page Word document) are available from Larry McCray, and will be proofed and uploaded to the Protoball website in the coming months. We welcome suggestions as to how to enrich this short abstract, and suggest that you look for trends that we've missed.
The Northerners Played a Lot More
About 10% of the references to ballplaying involved Confederate troops, and this includes their play while held in northern prisons.
It is plausible that this underestimates ballplaying as a southern pastime. For one thing, rebel force levels were only about 2/3 of those in the north. It is also true that some very productive sources or data – celebratory regimental histories and newspaper stories – appeared less commonly in the south than in the victorious north.
The Northeasterners Played a Lot More: Teams from New York, Massachusetts, and New Jersey Account for Two-Thirds of All Union Army References
Leaving aside about 25 accounts for which the ballplayers' home state was not mentioned, we have about 150 accounts of play in Union Army units [some accounts mention play among two or more units]. Of these, 100 accounts involved units from New York [54 cases], Massachusetts [30 cases] and New Jersey [17 cases]. Ballplaying is reported in 9 Pennsylvania units and in 7 Maine units. Ten other northern states each account for 4 or fewer cases, and together account for about 30 cases.
Florida and Virginia units led the Confederate states with 3 reports of ballplaying. Five other southern states give us a total of 6 cases.
Note: NY, MA, and NJ were populous states, and had larger forces. It should be possible for us to convert these figures to a per capita basis.
Ballplaying May Have Peaked in April 1863
Reports of ballplaying are found as follows:
No. Cases
New troops were avidly recruited in 1864, especially in the north, and it is notable that reports of ballplaying did not expand then. The apparent decline in 1864 seems unexpected, especially with troop levels rising.
If the War was a key to the spread of base ball throughout the US south, one might expect to see a steady growth of play through the war years. More generally, however, the spread of the Association game from northeastern cities to rural areas across the North may have been facilitated during the war – a large proportion of recruits were farmers, and they may have taken the big city game home with them following their service.
The Seasonality of CW Ballplaying is Clear: Many Games Occurred in the Winter Camps
While there are a handful of accounts of ballplaying near the heat of battle, the fighting months are conspicuously spare in reports of game. In fact, the number of games from May through September is under one-third of the games known in March and April during the war years.
Both sides quit fighting in about November of each year, and then they settled in at winter camps. Camps tended to break some time in April, which lagged the return of warm weather in the South; the impassibility of muddy roads and, possibly, the shortage of free-range forage for horses, may have been factors in the timing of the resumption of hostilities. One can imagine gatherings of young men growing tired of camp routines and turning to ballplaying to celebrate good weather. In the month of April 1863 alone, we find 31 accounts of ballplaying, predominantly in Union camps in northern Virginia. Baseball fever! [Note: this bulge may reflect, in part, the 20-odd new finds thoughtfully contributed by Michael Aubrecht from the collections of the Fredericksburg/Spotsylvania National Military Park.]
11 9 25 61 23 12 6 3 6 5 10 11
While we have a handful of reports of ballplaying near the battle lines, note that overall incidence was low in the war-fighting months generally.
As for the actual game sites, nearly 70 accounts were of games played in the Commonwealth of Virginia. Nine were reported in GA, seven in TN, six in NC, and six in LA.
The General Importance of War-Camp Base Ball is Somewhat Strengthened
Spalding and others underscored the importance of ballplaying by soldiers during the war, but his accounts, and most later accounts too, argued the case by citing selected examples, and some doubted that the game actually played a large role. After all, there were millions of often-bored soldiers, and anecdotal accounts of many minor pastimes were to be expected.
With 150 accounts in hand, some of them reporting several games, the case for base ball as a major diversion is strengthened. It seems likely than many more accounts will surface as diverse writings become amenable to systematic search. Still, 375 accounts for a war lasting nearly 50 months is not an overwhelming count.
The Ballgame of Choice Was Base Ball, By a Large Margin
As is common in origins research, it is sometimes difficult to determine what game was being played in a diary or autobiographical account of ballplaying in the military during the War. In part, this is because the writer uses a general phrase like "playing ball," or "a game of ball," which give no clue to the playing rules employed, and little assurance that the game was not more like handball or football or field hockey than like a baserunning game. And in fact, over 40 or our references were generic.
However, in nearly 100 cases it seems clear that the game that was played was a safe haven game:
Base Ball [incl. MA game] 70
Wicket 9
Cricket 7
Town Ball 5
Bat-ball 1
Longball 1
Because New Englanders called their round-ball-based game "base ball," we cannot easily distinguish their wartime games from those that followed the New York game rules as codified by the National Association. Our impression, however, is that the New York game very clearly dominated Civil War ballplaying; among other things, only one-third of all accounts come from New England sources, and of these only 3 [re-check this] explicitly denote their game as being played by Massachusetts Game rules.
Games of wicket were reported for men from MA, WI, IL, and the Rochester area of NYS.
Cricket was played by a Pennsylvania regiment, two NY regiments, and by rebel soldiers held in an Ohio prison camp. The reference to long ball is ambiguous.
Data on games played by Confederate soldiers are sparse. "Base ball" [outside Union prison camps] is mentioned in only three accounts, but only one is contemporary [and 1861 newspaper article]. The others are retrospective accounts, one by a chaplain writing in 1887 and one by a LA soldier who had also played base ball in New Orleans before the war. Four writers wrote of playing "town ball" in their diaries or letters home. One letter mentioned playing "base," and another wrote of playing "a game of ball called cat." We have no evidence of southern play of other games – cricket, wicket, round cat, or chermany.
Town ball was played by soldiers from Texas, Florida, and Georgia.
Base Ball Appears to Have Been a Leading Camp Diversion
The advent of electronic searches allows us to form impressions of how base ball stacked up against other pastimes. Many regimental histories are now available electronically, as are long-forgotten diaries and journals.
Thus, searches for "play," "played," "playing," and "games" gives some idea of the relative frequency of assorted diversions [they also help us to establish the relative popularity of wicket and cricket and town ball, which prior baseball-oriented researchers may not have been interested in].
My subjective impression is that ballplaying was reported more often than all other forms of recreation. Second was card-playing, often for monetary stakes. Quoits, foot-races, and occasionally football were found too, but less frequently, and shinty/bandy even rarer. [Singing, emphasized in one well-loved account of soldiers' lives, was rarely encountered, but such pastimes may not be caught by our "play" and "game" searches.]
Diaries and Regimental Histories Are Giving Us the Best Yield
It seems arguable that, after a lengthy period of stasis, we may now be entering a time in which the borders of uncertainty about soldierly ballplaying may recede as more sources are digitized.
For our current data base:
Diary 38
Regimental History 33
Newspaper 28
Letter 20
Drawing/Photo 3
Military Report 1
Trophy Ball 1
We are especially indebted to Michael Aubrecht [23 refs], Jeff Kittel [10 refs], the Giamatti Center at the HOF [6 refs] and John Zinn [4 refs] for new finds and/or documentation of new finds. About 65 of the listed finds came from lazy web searches by Protoball in mid-2009.
Retrieved from "https://old.protoball.org/index.php?title=Ballplaying_in_Civil_War_Camps&oldid=2049968"


Mithu Sen, one of India's most significant artists, is a force of nature. She works in multiple media including painting, drawing, sculpture, installation, and performance. She is a feminist, activist, and occasional poet. She makes objects as well as ephemeral actions and is constantly travelling around the globe and coming into contact with different cultures. Her work often maps onto specific trips she made to particular countries or cities. This time around, it was Poznań and Poland that Mithu Sen encountered in the process of preparing a site-specific project to be shown for the first time at the Municipal Gallery Arsenał.
The artist's name inevitably conjures associations with the word "myth," while her last name, from a Polish perspective, takes on an oneiric accent. It therefore seems fitting that Mithu Sen has taken an interest in the myths that circulate within a given culture. She submits them to a de(con)structive operation and a personal, anarchic act of translation, creating (un)known and (il)legible languages in the process. She is ceaselessly telling stories whose basic material and medium is human life. She guides her viewers into the world of dreaming but never lulls them to sleep – to the contrary. She wakes up their imaginations.
In her solo exhibition at the Municipal Gallery Arsenal in Poznań, Mithu Sen (de)mythologizes an episode of the Polish television series L is for Love (M jak miłość (2000–). Despite having no Polish at her disposal, she is able to empathically enter into the narrative. She weaves her own text into the story without any substantive knowledge of the culture and customs that form its context. She tells her own story about us, opening up a transcultural perspective. It is in this very episode of the soap opera that the female protagonist tragically dies. The grotesque nature of Hanka Mostowiak's death became the target of rampant online mockery as users disseminated a huge volume of memes tinged with scathing irony. As a result, even someone who has never seen an episode of L is for Love would likely be familiar with this particular story point. What does Mithu Sen make of it? How does she "read into" the actors' gestures and facial expressions, the tones of their voices, or the momentum of the storyline? After all, observation practices and differences in cultural production exist, above all, in relation to social experience.
The artist describes herself as a lingual anarchist. Such a deliberate and conscious self-declaration leaves little room for debate! With her signature exuberance and a certain levity, Mithu Sen insinuates herself into the Polish language without comprehending it; she teases out this epistemic trauma and illegibility so that she can make visible – for us, as Polish speakers – what has become so obvious we no longer see it, for mythologies and stereotypes have a way of preying on meaning. Language is an "inventory of cultural memory embedded with information about our history, customs, beliefs, legends, cultural myths, art, and the organizational structures of social and political life." – We are dealing, then, with a paradigmatic reservoir of mythologies. In this installation, Mithu Sen performs her operations on the language of television as a particularly intense condensation that reflects the dominating clichés of the moment.
Yet Mithu Sen not only experiments with the potential of language and the transmitted message, for she also restores to us its visual, material, bodily and sensory aspects. In this sense, she stands in agreement with the theses proposed by Jacques Derrida, for whom these features are inextricably tied to that which is ideal within the written sign. The artist has therefore chosen to cover the gallery walls with lettering suspended in a state of (il)legibility. The text refers back to her reading of the episode of L is for Love. She plays with content as well as form. She allows the message to entwine itself around the white cube, luring viewers into the epicenter of a lingual anarchy. Lawless, they set off in the pursuit of myth. Mithu Sen herself stands in the face of the myth we dream in waking, dreaming up new meaning and allowing us to peer into the myths into which we were born.
 B. Tokarz: Spotkania. Czasoprzestrzeń przekładu artystycznego. Katowice 2010, p. 234.
 See also: A. Burzyńska, Dekonstrukcja, polityka i performatyka, Kraków 2013, p. 536.


Our client, a main dealership is looking for a motivated and dedicated person to take their first steps into the motor trade as a Trainee parts advisor.
As a Trainee Parts Advisor, you will learn to ensure that the right parts are in the right places, at the right time. The Parts Department plays an important role in supplying both internal and external customers so good organisation, time management and communication skills are essential.
This Trainee Parts Advisor Vacancy is one of many Automotive Jobs in Worthing, so if it is of interest to you or you would like to find out about any other jobs, please contact Joel at Perfect Placement for others similar to this.


text:
A garrincha-dos-lhanos (Campylorhynchus griseus) é uma espécie de ave passeriforme da família Troglodytidae pertencente ao gênero Campylorhynchus. É encontrada no Brasil, Colômbia, Guiana e Venezuela.

Os seus habitats naturais são florestas secas tropicais ou subtropicais, florestas subtropicais ou tropicais húmidas de baixa altitude, matagal árido tropical ou subtropical, matagal tropical ou subtropical de alta altitude e florestas secundárias altamente degradadas.

Campylorhynchus
Aves descritas em 1837
Espécies descritas por William John Swainson


text:
package com.amazonaws.services.recyclebin.model.transform;

import java.math.*;

import javax.annotation.Generated;

import com.amazonaws.services.recyclebin.model.*;
import com.amazonaws.transform.SimpleTypeJsonUnmarshallers.*;
import com.amazonaws.transform.*;

import com.fasterxml.jackson.core.JsonToken;
import static com.fasterxml.jackson.core.JsonToken.*;

/**
 * LockConfiguration JSON Unmarshaller
 */
@Generated("com.amazonaws:aws-java-sdk-code-generator")
public class LockConfigurationJsonUnmarshaller implements Unmarshaller<LockConfiguration, JsonUnmarshallerContext> {

    public LockConfiguration unmarshall(JsonUnmarshallerContext context) throws Exception {
        LockConfiguration lockConfiguration = new LockConfiguration();

        int originalDepth = context.getCurrentDepth();
        String currentParentElement = context.getCurrentParentElement();
        int targetDepth = originalDepth + 1;

        JsonToken token = context.getCurrentToken();
        if (token == null)
            token = context.nextToken();
        if (token == VALUE_NULL) {
            return null;
        }

        while (true) {
            if (token == null)
                break;

            if (token == FIELD_NAME || token == START_OBJECT) {
                if (context.testExpression("UnlockDelay", targetDepth)) {
                    context.nextToken();
                    lockConfiguration.setUnlockDelay(UnlockDelayJsonUnmarshaller.getInstance().unmarshall(context));
                }
            } else if (token == END_ARRAY || token == END_OBJECT) {
                if (context.getLastParsedParentElement() == null || context.getLastParsedParentElement().equals(currentParentElement)) {
                    if (context.getCurrentDepth() <= originalDepth)
                        break;
                }
            }
            token = context.nextToken();
        }

        return lockConfiguration;
    }

    private static LockConfigurationJsonUnmarshaller instance;

    public static LockConfigurationJsonUnmarshaller getInstance() {
        if (instance == null)
            instance = new LockConfigurationJsonUnmarshaller();
        return instance;
    }
}

redpajama_set_name: RedPajamaGithub


Enjoy an amazing 5 Course BBQ menu for two people at Asador with a €25 drinks credit.
ASADOR - Noun [c]; A Spanish word meaning barbecue, grill or spit. May also be known as Parilla, Barbecoa, Varilla, Brocheta.
The idea behind ASADOR is simple, source the best of Irish produce and cook in the most ancient of ways. The living, breathing heart of the open kitchen is their bespoke 1.2 tonne "Asador". The chefs have spent time in Spain, Portugal & Argentina learning all about the craft of delivering exquisite barbecued food.
Asador cook all their meats, shellfish and game over fires of lump-wood charcoal and oak & apple hard woods. They use maple and hickory wood chips to add further flavor to their famous steaks.
Their key focus is on ensuring warmth of service and a memorable dining experience for all of their guests. Their front of house team is always on hand to recommend a perfect wine, beer or cocktail pairing for your meal. They opened their doors in November 2012 and have had a lot of fun growing with their customers in the least two and a half years. They are looking forward to the next period and ensuring they provide Dublin with the perfect balance of flame, flavor and food.
Vouchers can be used from January 4th to March 31st 2016.
Vouchers are valid for dinner bookings only and from 5.30pm each day.
Vouchers cannot be used during the home games of the Six Nations Rugby.
After you have purchased your voucher please email reception@asador.ie to book your table. Your full name, date, number of guests, time, phone number and voucher code is required in order to secure a reservation.
Up to 2 vouchers maximum may be used per table depending on availability.
A €25 drinks credit is included with your voucher towards a bottle of your choice. If you choose a higher priced bottle you pay the difference directly to the restaurant at the end of your meal.
€4.50 supplement per person for the Rib-Eye Steak.
Please note - your voucher must be used by March 31st 2016. This redemption date is firm. No correspondence will be entered into regarding late redemption of your voucher. No refunds can be given after this date.


text:
Q: How can i write my own matlab code to degrade an image by atmospheric turbulence function How can I write a degradation function in Matlab to yield a degraded image?
But I want a degraded image by atmospheric turbulence.
Here below is the function
H(u,v)=e^(-k(u^2 + v^2)^5/6)

so how can I express this in Matlab?

A: Perhaps you can try some Matlab functions which allow you to blur the image using a define filter. You can try fspecial() to define your combination of filters. And use imfilter() to apply the filter to your image.
If you want to do with your own script, you can use these functions to get an idea, but it will be difficult. Likely, you will have to apply some convolution and transformations.


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Corran and the rest of the squadron rejoined the New Republic, and Corran and Mirax Terrik married.
Corran also possessed an ability that was another benchmark of the Halcyon Jedi heritage—the power to convert energy directed at him (such as blaster fire) or in his immediate vicinity (such as ambient heat from a fire or explosion) into Force energy that he could manipulate.
Corran fought with Yuuzhan Vong Commander Shedao Shai with the fate of the planet Ithor in the balance.
Horn learns of his powerful Jedi heritage and the white bladed lightsaber his father, Hal Horn had kept for him.
Jysella Horn is the Force-sensitive child of Corran Horn and Mirax Terrik.
Valin Horn is the Force-sensitive son of Corran Horn and Mirax Terrik.
Luke invited Corran to train with him to become a Jedi Knight, which Corran declined because he felt it was his duty to aid Rogue Squadron in what would appear to be their next mission: apprehending Ysanne Isard and rescuing the prisoners still aboard the Lusankya.
Corran quickly discovered that the Halcyon family was weak in telekinetic abilities, but made up for it with their ability to influence beings by projecting illusions and ability to absorb energy which they could use to greatly enhance their Force power, including their limited telekinesis.
Corran favored a dual phase lightsaber and constructed one shortly after he left the academy, in its initial phase it was a standard length silver blade, but if he twisted the grip a second crystal fell into place and the blade doubled in length and changed to a brilliant purple.
Corran and Bastra created false smuggler ids for each other, the Wessiri's, and two other Alliance supporters, and then staged a scenario in which Corran killed them in cold blood.
Corran discovered that the gravity at Lusankya was reversed to keep the prisoners disoriented, and escaped to discover that Lusankya was buried beneath Imperial City.
Corran remained with Rogue Squadron, and spent time battling Grand Admiral Thrawn and the "reborn" Emperor Palpatine's forces at Coruscant - the home he and Mirax build was one of the first victims of the falling Star Destroyer Liberator.
Hal Horn, born Valin Halcyon, was the son of Nejaa Halcyon and Scerra Halcyon, adopted son of Rostek Horn, the husband of Nyche Horn and father of Corran Horn.
Horn became a prominent agent of Corellian Security, and worked as a team with his son who followed in his footsteps.
Horn died while on a mission, at the hand of the bounty hunter Bossk.
Corran Horn is returning home from a mission, only to find that his wife has gone missing while on a secret mission of her own.
Horn is a married man, and yet he is deeply attracted to a female Jedi trainee by the name of Tionne, and must reconcile his feelings for her while remembering that it is because of his wife, (Mirax), that he is finally undergoing the training.
Corran Horn has come to Yavin to complete his Jedi training under Luke Skywalker to better aid him in his search for his wife, Mirax, who has gone missing while she was looking for rare artifacts to purchase.
Horn, who has become one of the most capable Jedi of Luke Skywalker's new order, grew up never knowing his true heritage.
Corran was such a capable pilot that he drew the attention of Wedge Antilles, the famed Rebel pilot and leader of the legendary Rogue Squadron.
It wasn't long before Horn was flying as a Rogue, spearheading such important missions as the liberation of Coruscant from Imperial rule.
Corran believed that Loor was somehow involved in the murder, but was never able to prove his suspicions.
Corran continued to balance his talents as a Jedi and pilot.
Horn desecrated the remains of a long-dead Vong warrior, bringing down the wrath of that warrior's descendent, Shedao Shai.
Some Jedi, like Corran Horn and Ganner Rhysode, still wore the traditional robes, while other Jedi who were also accomplished pilots, like the Solo children, Jaina, Jacen and Anakin, preferred to wear jumpsuits, simple and useful outfits that allowed the Jedi to have more mobility as well as advantages for piloting.
Corran Horn's grandfather was a Corellian Jedi named Nejaa Halcyon, who had died in the Clone Wars.
While Luke was gone the Jedi Order fell into chaos with Corran Horn the state appointed leader while Luke was absent.
Corran learns from military command that Mirax has departed on a mission to locate the Invids, the very pirates that Rogue Squadron has been trying to eliminate; this reinforces Corran's Jedi instincts that she is in grave peril.
Corran seeks help from now-General Wedge Antilles, and the former Rogue Leader along with Jedi Master Luke Skywalker are able to convince Corran that the key to finding Mirax may lie in developing his Jedi abilities, a proposal he turned down a few years earlier.
Corran seems to really identify with some of them and when the time comes for him to make his big move, he's careful not to bring unnecessary harm to them.
Corran Horn was an officer in the Corellian Security Force before casting his lot with the New Republic.
Corran soon learns that the Invids, an intergalactic pirate gang, had kidnapped his wife and may be being held hostage on the Invidious their flagship.
We are Corran Horn as we read the book, or at least it feels as though we are reading his diary and seeing everything through only his eyes.
Corran Horn hadn't been too obnoxious, Wedge and Tycho had been glorified, and a favorite comix bad guy--Tavira--was back.
I had some nasty moments when I read that Tough Squadron (the rakish pilots who had a Gamorrean in thier squad) was wiped out, and when major amounts of people couldn't be evacuated from Lando's world (as a political science major, I firmly believe that people must be preserved at all costs).
Horn Head (Corran Binne, "Hollow in the Hills"), in the very far north of the country is the tip of a peninsula reaching out into the Atlantic.
The best starting point for excursions to Horn Head and the surrounding area is Dunfanaghy, which has an 18-hole golf course and the little harbor of Port-na-Blagh.
Horn Head is well-known as the haunt of innumerable seabirds.
Corran evened his shields out fore and aft, and then he was in the midst of the TIEs, rolling and juking evasively as volley after volley of hot green energy sought him.
Corran juked and rolled till he judged himself well out of the Star Destroyer's range, then circled around to try for a good bead on one of the four remaining fighters.
Corran let his mind dwell on Mirax again: the way her silky hair shimmered when he touched it; the way she would laugh carelessly every time her father leveled another joking insult at his son-in-law; the way she had smiled when he'd proposed to her.
Corran Horn (presumed dead by the Alliance) has been captured by Iceheart and she is attempting to brainwash him.
I really love Corran Horn's character and I think part of the reason is that he is a combination of both Luke and Han.
Corran Horn makes his grand reappearance and fixes everything, but not without some scary points in several peoples lives.
So, when Corran apparently "fails" at his mission and cannot force the Yuuzhan Vong out of Ithor, on a human level, its very tempting and even accurate to say that Corran chose a mission with no possible success.
Corran is CorSec and a Rogue to the core, even while being a Jedi.
In this tale, Corran had to admit to himself that he did, indeed, cross the line, and he acted on a desire for revenge.
When Mirax Terrik was captured by Leonia Tavria's Invids, Corran enrolled, as Kieran Halcyon, in Luke Skywalker's Jedi academy, and began studying the ways of the Force.
It is also notable that Corran had very limited abilties in telekinesis through the Force, a problem that constantly plagued members of the Horn-Halcyon family tree.
Corran and Mirax had a son, Valin Horn.They also had a daughter, Jysella.
Corran Horn returned to the Jedi Academy to complete his training.
Corran and Mirax's daughter is said to be two by the time of Michael Stackpole's novel Onslaught.
Edge of Victory 1: Conquest Valin Horn, son of Corran and training to be a Jedi, is trapped on Yavin 4 by the invading Yuuzhan Vong.
Luckily, I had read the novels in which Corran Horn featured (the X-Wing series), and I had a fair idea of the character.
It still needed a re-read to find a suitable scene in which to place him, and I eventually opted for the part where Corran has just escaped from Iceheart's clutches, and wandered into the old Jedi museum where the figurines have been defaced.
On being discovered, Corran tells his would-be captors that 'I have a face, and I'd like to keep it'.
Thanks...and ya this is an awesome book..I am sucked into to it and cannot stop reading, Ive alread gotten in trouble three times at work for reading and not working lol my lunches and at home time the past few days have been spent reading it.
I just got to ch 26 when he reunites with his grandfather and he gives corran- Neejas' box of jedi artifacts and clothing.
Corran Horn's murder charge is discussed in the X-Wing books, specifically Rogue Squadron.
Corran is a character that has been featured in the X-Wing novels, I, Jedi, and various novels in the ongoing New Jedi Order, among others, just in case you have never heard of him before.
Biographies Contains detailed information on Corran and other members of his family.
Disclaimer: The character of Corran Horn, his family, and anything else contained in the Star Wars universe, as well as Star Wars itself, does not belong to me, more's the pity.
What was the name of the bounty hunter who killed Corran's father.
What was the name of the Imperial Super Star Destroyer where Corran was held captive after he was captured by Ysanne Isard?
Corran worked for CorSec before joining the Rebellion.
Corran Horn: Well if you were going down i was going down with you.
hen his wife Mirax was captured by unknown enemies, Corran Horn trained his Jedi Knight abilities in order to track her down.
Corran adopted the identity of Jenos Idanian and joined the Survivors, eventually coming to Tavira's attention.
In order to improve his odds ofsuccess, Corran created a mysterious Jedi attacking the pirates from the shadows.
Jedi Council Forums - The Corran Horn Fan Club!
Nom Anor: I witnessed the death of perhaps the greatest of them all, the one called Anakin Solo, who gave up his life so that the ones he loved might live.
I'm the biggest fan there is or Mr Horn.
There must be more Horn fans out there.
Valin Horn is born to Corran Horn and Mirax Terrik.
Wedge Antilles and Corran Horn retire from military service.
Corran will now devote his full time to being a Jedi Knight.


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text:
Q: Share lazy-loaded (not in App.module) service (DI context) between other multiple lazy loaded modules? Let's take scenario:
App.module
   |__Lazy1.module
   |    \__LazyService1.module
   |__Lazy2.module
   |    \__LazyService1.module
   \__(many more)

Goal is to have LazyService1.module provide singleton instance for Lazy1/2.module, but only be needed to be loaded when Lazy1/Lazy2 is fetched.
Angular creates and resolves root DI context only once. Any subsequent context (for lazy modules) are child contexts. My problem is that I don't want to provide services (LazyService1.module) in App.module (it's a big module, and only used by 2 lazy loaded ones), so logically my LazyService1.module will NOT be resolved in root DI context.
I need to somehow share DI context between 2 lazy loaded modules, without having to make it root dependency (in App.module).
Is there a way to define shared DI? Can one module access DI context of other?
Can lazy-loaded service be provided in root for other lazy-loaded modules to use, without providing it from root App.module?
As for stack - I don't think I can provide a stack since I have no idea how it would look. I can implement one that eagerly provides service in root, but that is not the question here.
EDIT 2:
App.module:
@NgModule({
    declarations: [
        AppComponent,
    ],
    imports: [
        // Used by all:
        BrowserModule,
        BrowserAnimationsModule,
        CommonModule,
        HttpClientModule,
        // App router:
        AppRoutingModule
    ],
    bootstrap: [AppComponent]
})
export class AppModule { }

Lazy-load routing module:
const routes: Routes = [
    { path: 'admin', loadChildren: () => import('./admin/admin.module').then(m => m.AdminModule) },
    { path: 'main', loadChildren: () => import('./main/main.module').then(m => m.MainModule) },
    ... many others, lazy or not
];

Service Module:
@NgModule({
    providers: [
        AuthenticationService
    ],
    declarations: [...],
    exports: [...],
    imports: [
        CommonModule,
    ]
})
export class SecurityModule { }

Service:
@Injectable()
export class AuthenticationService { ... }

And then we have those 2 lazy ones: admin and main.
If I were to import SecurityModule like this:
@NgModule({
    imports: [
        SecurityModule
    ]
})
export class MainModule { }

I will end up with separate AuthenticationService for both Main and Admin.
If I import it in App.module, sure it works, but i have to load HUGE SecurityModule, when it's only needed in Main/Admin which might never be accessed.

A: You cannot share service between modules, that will kill the whole purpose of making modules.
But for the scenario you can try this approach
App.module
   |__Lazy1.module
   |                (import)<= SharedModule -> LazyService1.module
   |__Lazy2.module
   |
   \__(many more)

The above explain create a new module as shared module and create service you want to share between the services and import the  module to other modules where you need the service.
Updated:
You need to create a static method called forRoot that exports the service along with the module itself. That will give you a single instance for all the imports of shared module.
Check out this link, I'm 100% sure it answers your question. Happy coding :)
Shared Dependency Tree
I hope this helps, any doubts with this let me know

A: So far all the answers were a pretty cool read (even through I actually read hefty of those before posting the question).
The problem with forRoot (and i think all of proposed links) is that (for me) it's not a real DI as it strongly couples App.module with injected module/service - which is the whole issue I've been describing in the question.
Since I am head-strong Java coder (and We do love our dependency injection) I couldn't shake the idea that there must be a way to make it true DI.
So I am pretty sure Shashank Vivek was at least partially wrong here:

because it is the only way to make it work in Angular

The reason it was so hard to find a good solution is because Angular is damn fast-developing framework and pretty much 90% of what you find is at around version 2-4.
Anyway - since Angular 6 we have providedIn in decorator which, while it's been known to me for months (as it was supposedly "true DI" compared to forRoot), it surprised me: It actually is tree-shakeable!
So all in all - You can literally take a service, mark it with providedIn and not touch ANYWHERE (literally no declarations or imports), outside where You actually use it.
Turns out services are creatures of their own and Angular is smart enough to both load and pack them with anything that uses them.
So the answer to my question is:

*

*Remove all and any references to lazy services.

*Mark them with @Injectable({ providedIn: 'root' })

*Simply inject them into constructor wherever You need them (in lazy-loaded modules).

Angular will make partial lazy modules that contain services (and other stuff) shared between many lazy modules (like in my example) and load them when they are loaded. The instance will be provided in root (in my case) and shared among all app (lazy modules).
And to go even further (since DI is love), here is a nice read on how to take things even further (and I'm talking Spring-level further). :)
https://angular.io/guide/dependency-injection-providers#tree-shakable-providers
https://www.softwarearchitekt.at/aktuelles/the-new-treeshakable-providers-api-in-angular/
I am VERY SURPRISED this was SO HARD to find :O ...buried deep in angular docs.
Here is a demo code to play around with it !