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Album Review: A.S. Fanning – Second Life
By Carrie Clancy on Thursday, 12th October 2017 at 12:00 pm
Irish singer/songwriter A.S. Fanning is making a 'Second Life' for himself, with a new solo LP of that particularly apropos title. The former frontman of Dublin-based bands Porn Trauma and The Last Tycoons, Fanning relocated to Berlin several years ago. Finding it to be more affordable than Dublin for his practical and musical purposes, he decided to stay on, and he finished recording the self-produced album 'Second Life' there earlier this year. Just after wrapping up the record, Fanning made his American debut at SXSW 2017, which is where TGTF happened to make his acquaintance.
As is often the case with carefully crafted pieces of music, the collection of songs on 'Second Life' have evolved over a lengthy songwriting process, and some of them have already made the rounds as early single releases. 'Carmelita', for example, dates back to the end of 2015, and it has stood the test of time for inclusion on the full LP. Indeed, the ironic religious imagery in its poetry and the desperately yearning quality of its refrain distinguish it straightaway as one of the album's strongest tracks.
Appearing later in the album, 'Dark Star' has also been part of Fanning's live repertoire for at least the better part of a year. Fanning's dramatic baritone delivery of its darkly brooding lyrics "you met a sweet boy in that stupid bar with no name / he was so kind and helpful, apologised when he came" were a memorable part of his setlist at SXSW, and the song makes a similarly striking impact in the tracklisting of 'Second Life'. Current single 'Never Been Gone' is slightly more uptempo in its shuffling rhythm, and distinctly warmer in tone than many of the tracks on the LP. Its light instrumental interludes and gently wistful lyrics, "soft summer sun, memory so strong, nothing needs explaining, just a feeling that you'd never been gone", are a welcome glimpse of sunshine amongst the figurative shadows where Fanning more typically dwells.
Midway through the album, Fanning takes on a deliberately artistic aesthetic with instrumental piece 'The Heron'. Purely instrumental tracks are often more difficult to interpret than songs with words, but this one comprises musical gestures that are angular, delicate and tranquil, like the graceful bird mentioned in the title. Penultimate track 'Empty Suitcase' isn't strictly instrumental, but its brief and distant vocal lines are clearly secondary in focus to the deftly constructed instrumental layers that make up its rich harmonic and textural soundscape.
'That's Where They'll Find You' is similarly expansive and dynamic in its instrumental arrangement, but much more ominous in tone. Its throbbing heartbeat pulse and heavy keyboard structure frame sinister lyrical references to places of "sickness and plain despair and all that is unjust / where raving madmen find their bliss and stiff john lust." Here again, Fanning's deep baritone plays to its greatest effect, with its unique combination of dry humour and utter solemnity.
Final track 'Louis Armstrong' is shaped as an old-fashioned jazz ballad with prominent brass in the backing arrangement, inspired by the famed American jazz musician who evidently factored into Fanning's musical upbringing. Its lyrics have a mildly pessimistic bent, which keeps the song from feeling entirely out of place on the record. "I can only pray the joy outweighs the sadness in the end", Fanning sings, and closing the album on this clever and surprising note ultimately brings that lyrical wish to fruition. A.S. Fanning's 'Second Life' as a solo artist may be just beginning, but the wide range of his musical and lyrical ability has set him off to a very promising start.
A.S. Fanning's debut LP 'Second Life' is due out tomorrow, Friday the 13th of October, via Proper Octopus Records. Tomorrow night, Fanning will play an album launch show at Dublin Whelan's. TGTF's previous coverage of A.S. Fanning, including live reviews from SXSW 2017, is right back this way.
SXSW 2017: Thursday afternoon at Music From Ireland's Full Irish Breakfast – 16th March 2017
By Carrie Clancy on Tuesday, 11th April 2017 at 2:00 pm
Thursday at SXSW 2017 was another full day, but my tired feet did get a bit of a reprieve after the lengths I walked on Wednesday night. I started the day at the Austin Convention Center for Zane Lowe's keynote session, then spent the remainder of the afternoon at B.D. Riley's Irish Pub, which hosted Music for Ireland's day show, the Full Irish Breakfast. (Editor Mary caught the opening acts on the Irish Breakfast bill, New Portals and Ciaran Lavery while I was listening to Zane Lowe; you can read about them in her Thursday afternoon review.)
I arrived at B.D. Riley's with just enough time for a plate of breakfast before "dark folk" singer/songwriter A.S. Fanning began to play. I'd seen Fanning earlier in the week at the Convention Center Next Stage, but as I've noted in the past, B.D. Riley's has a very different ambiance from other SXSW venues, especially the sterile Convention Center stages. Fanning's sharp lyrics and dramatic rock-tinged musical style skillfully elicited a mood of brooding melancholy in both environments. I caught him later in the afternoon for this quick interview, where we talked about the different venue atmospheres and his upcoming album 'Second Life'.
One of the afternoon's pleasant surprises was soulful singer/songwriter Loah, whose West African musical influences were delightfully unexpected in the context of the Irish showcase. Her silky vocals and exotic stage presence were nothing short of stunning, bringing the bustling pub to a momentary standstill. Take a listen to my interview with Loah right back here, and watch this video for her full band performance of 'Cross', courtesy of Press Record.
Next on the bill were electronic act Cloud Castle Lake, whose cool detachment and distinct avant-garde tendency took a decidedly different tone. Brendan Jenkinson's ethereal falsetto was almost lost in the shuffle of background noise at B.D. Riley's, but the band's heavily rhythmic musical arrangements made a strong impression nonetheless.
Northern Irish alt-rocker Jealous of the Birds (aka Naomi Hamilton) played a full band show at B.D. Riley's, as opposed to the stripped back set I saw her play on the Output Belfast boat earlier in the week. Her erudite lyrics and eclectic mix of musical styles took on a much more vibrant cast in the fully-arranged versions of her songs, especially the popular 'Goji Berry Sunset'. Hamilton and her bandmates fully embraced their punk-rock undertones in this pub setting, exponentially raising the energy level on the stage as well as among the punters in the growing crowd.
That newly-generated energy was immediately picked up by fellow Northern Irish band Silences, (pictured in the header photo above) who took the B.D. Riley's stage with a decided air of confidence, quite different from frontman Conchúr White's demeanor in his solo appearance last year. White and his bandmates didn't waste a lot of time on chatter, preferring instead to impress the crowd with their massive, soaring five-piece sound. I was literally stunned to silence (pun intended) by the goose bump-inducing arrangement of their single 'Breathless', and I bubbled over with excitement for the up-and-coming Silences in this post-set interview with White and guitarist Chris Harbinson.
Taking full advantage of the momentum built by their Northern Irish compatriots, avant/experimental group Robocobra Quartet brought a surprisingly brash punk attitude to their jazz-tinged classical aesthetic. Based on our Adam's description of them in his preview of NI artists, I probably should have expected punk, but I didn't realise the extent of that influence until I heard lead singer/drummer Chris Ryan do his frenetic routine. The jazz side of things came through in the unique combination of saxophone sounds provided by Tom Tabori and Thibault Barilon. It's an odd but intriguing mélange of sounds, and my immediate post-set commentary probably sums it up best: "I'm not sure what I just listened to, but I think I liked it."
I was equally intrigued by Dublin psych-rock act Birds of Olympus, especially after their frontman Spud Murphy described their sound to me as "Talking Heads mixed with Ennio Morricone". Their songs were broadly expansive and strangely hypnotic, with smooth vocal melodies and edgy rhythmic grooves evolving in vivid kaleidoscopic fashion. Check it out for yourself in this live video performance of 'Cinder to the Sun' on the band's official Facebook.
Mary and I had been waiting over a year to see young Dublin rockers The Academic, and they took the Irish showcase by storm at SXSW 2017, with a set that was by turns wildly energetic and broodingly sullen. Frontman Craig Fitzgerald has cultivated a certain bad-boy mystique that feeds into the band's more introspective songs, like 'Thought I Told You' and 'Small Town Lovers', while the driving momentum of songs like 'Different' is clearly the band's strongest suit.
The final act on the Full Irish Breakfast was another up-and-coming mainstream pop band, the swaggering Dublin rock duo Picture This. I'd taken the opportunity to sit down with band members Jimmy Rainsford and Ryan Hennessy earlier in the week, and their unabashedly cocky demeanor in that Tuesday afternoon interview had piqued my interest for seeing them live. As it turned out, they had every reason to be confident. The anthemic rock-leaning pop of tracks like 'You & I' was enthusiastically received at B.D. Riley's, ending the day on an ecstatic high. Also, for the record, Hennessy fulfilled his earlier promise to play topless, which I hadn't taken seriously until he actually did it.
All in all, the Full Irish Breakfast once again lived up to its reputation as one of the best shows in town during SXSW, and the bands on the showcase fully exceeded even my high expectations. For more on the fine Irish acts at SXSW 2017, you can read back through Mary's coverage of the official Music From Ireland showcase at the Velveeta Room on St. Patrick's Day.
SXSW 2017: Tuesday morning and afternoon spent with Irish artists and an exceptional English band – 14th March 2017
By Carrie Clancy on Wednesday, 5th April 2017 at 5:00 pm
The Tuesday morning of SXSW 2017 found me out the door early, headed across the Colorado River to the Hyatt Regency Boat Dock, which the launching point for the Output Belfast Boat Party. The Boat Party, a collaborative event among several agencies including Generator NI and the Belfast City Council, is quickly becoming a Convergence tradition at SXSW, popular among attendees from across the Interactive, Film, and Music categories.
I was lucky to get onboard, as the boat quickly reached capacity. I had only just made my way to the upper deck when I was approached by one of the morning's performers, electronic musician Ryan Vail. I recognised him from his press photos and felt a momentary panic, worried that I would be expected to say something intelligent about electronic music and drawing a complete blank. Fortunately, Vail was knowledgeable enough for both of us, and he kept the conversation afloat until the official festivities began.
The morning's distinguished emcees included our friends Mark Gordon of Generator NI and Belfast city Alderman Guy Spence (pictured above), as well as Help Musicians UK CEO Richard Robinson. All three were cordial but brief in their remarks, wanting, like the rest of us, to get straight to the music performances. Vail took the stage, such as it was, first. Balancing his sensitive electronic equipment on the gently rocking riverboat was something of a challenge, but Vail managed it beautifully, setting a soft and mellow sonic atmosphere for the rest of the show.
Alt-rocker Jealous of the Birds (pictured in header above) returned to Austin this year after a successful debut at SXSW 2016, this time with her full band accompanying her. For this brief semi-acoustic riverboat set, she was joined only by keyboard player, Hannah McConnell who also provided lovely backing vocals. I found myself whistling along to the now familiar 'Goji Berry Sunset' and hanging intently on the literary-leaning lyrics of 'Tonight I Feel Like Kafka'. You can check out another SXSW 2017 performance of both tracks, courtesy of NPR, right here.
Final performer Ciaran Lavery opened with an a capella take on 'Let Bad In' that had me in tears before he had even completed the full song, which made it a bit difficult to take photos. He acknowledged that his songs aren't exactly upbeat "dance numbers", but his richly-textured vocals and stark acoustic arrangements felt pleasantly warm and inviting in the early afternoon Texas sunshine.
After the boat party was complete, I took a few minutes to sit down with the three featured artists for this impromptu interview, then I headed quickly back downtown for another interview with a band from the Republic of Ireland, Dublin's Picture This. I was few minutes late to reach them, but fortunately they were gracious enough to wait, and band members Jimmy Rainsford and Ryan Hennessy gave this fascinating introductory soundbite. They exuded confidence and swagger, which immediately struck me as unusual, but in a positive way, very different from the self-deprecating humility of so many artists I meet. I wouldn't have the chance to hear Picture This play live until the Thursday afternoon of SXSW, but needless to say, my curiosity was piqued.
From there, it was back to the Radisson for me, where I had arranged an interview with Reading quartet Sundara Karma. They were fresh on the SXSW scene, having only arrived in Austin hours before, but they were chomping at the bit to immerse themselves in the experience. In contrast to Picture This, Sundara Karma seemed genuinely unaffected by the hype surrounding their SXSW appearance. Click here to listen back to my poolside chat with band members Oscar Pollock and Haydn Evans.
Interviews complete for the afternoon, my next stop was at the Convention Center Next Stage, where I met Mary to catch Irish singer/songwriter A.S. Fanning. Later in the week, (in this interview) Fanning would describe the Convention Center vibe as more like a lecture hall than a proper gig, and I have to agree with his sentiment. The large stage and open seating area was almost too spacious for Fanning's dark, intimate songwriting, but his captivating lyrics and resonant baritone vocals very quickly minimised the emotional distance between himself and his audience.
Keep following TGTF's continuing coverage of SXSW 2017 in the coming days for more on all of the excellent artists featured here: Ryan Vail on the grand piano at St. David's Bethell Hall, A.S. Fanning and Picture This at Thursday's Full Irish Breakfast, Ciaran Lavery at the Output Belfast day show, Sundara Karma at Stubb's BBQ, and Jealous of the Birds on Saturday's Music for Listeners showcase at El Sapo.
SXSW 2017 Interview: A.S. Fanning
By Carrie Clancy on Tuesday, 28th March 2017 at 3:00 pm
Irish singer/songwriter A.S. Fanning was unique among his Irish peers at SXSW 2017 in that he's currently based in Berlin rather than at home on the Emerald Isle. Not having any previous knowledge of Fanning's music, I was curious about what might have prompted him to make that choice. After hearing his set on Thursday's Full Irish Breakfast at B.D. Riley's Pub, I was able to catch him for a quick interview to find out more.
As Fanning explained to me, he relocated to Berlin several years ago, with his previous band The Last Tycoons. (Tangentially, a quick Facebook search reveals that Fanning was known as "Switchblade Steve" during his time in The Last Tycoons, a fact that I sorely regret not knowing at the time of the interview!) Finding Berlin less costly than Dublin, he simply decided to stay on after the band split up.
Musically speaking, Fanning's life experience going back to childhood has led him to a rather enchanting blend of "dark folk", Americana, and rock 'n' roll influences, which he talked about briefly in our interview just below. If you missed it earlier this month, you can hear Fanning's current single 'Carmelita' in our preview of Irish artists at SXSW 2017, and check out his striking baritone vocals in the live video for 'Dark Star' at the bottom of this page.
A.S. Fanning has just finished recording his album 'Second Life', funded by a Kickstarter campaign that wrapped up in January. Its release is expected later this year, via Proper Octopus Records. Stay tuned to TGTF for more coverage of A.S. Fanning at SXSW 2017 in our upcoming review of the Thursday afternoon Full Irish Breakfast, as well as further news on the album release if that becomes available.
[youtube]https://youtu.be/a15bv_iyg3o[/youtube]
Special thanks to Candice for helping me coordinate this interview.
TGTF Guide to SXSW 2017: Irish artists showcasing at this year's SXSW
By Mary Chang on Tuesday, 7th March 2017 at 11:00 am
The Emerald Isle always sends a strong contingent of acts out to SXSW, and this year for SXSW 2017 is no exception. Having covered Hard Working Class Heroes myself for the first time last October and my new initiative in 2016 to include Ireland as part of TGTF's official remit make supporting the Irish and Northern Irish artists coming out to Austin all that much sweeter in 2017. In this post, we introduce you to seven acts from different corners of Ireland proper. The summaries of acts below were written by the newest member of our team and our Northern Irish correspondent Adam McCourt. Please note: all information we bring you about SXSW 2017 is to the best of our knowledge when it posts and artists and bands scheduled to appear may be subject to change. To learn when your favourite artist is playing in Austin, we recommend you first consult the official SXSW schedule, then stop by the artist's Facebook and official Web site for details of any non-official SXSW appearances.
The Academic – rock / Mullingar
The Academic – Craig Fitzgerald (vocals/guitar), brothers Matt (guitar) and Stephen (bass) Murtagh and Dean Gavin (drums) are an indie pop four-piece from Mullingar. Since their performance of their debut single 'Different' on one of Ireland's most watched television shows, 'The Late Late Show' they have done nothing but soared to success. They signed a publishing deal with Global publishing in that same year and since have appeared on the bills of top festivals and supported huge names Kodaline, The Strypes, Little Green Cars and opening for The Pixies at The Marquee. Their debut EP 'Loose Friends' was released in October 2015. We reviewed their single 'Mixtape 2003' and featured its promo video last year, so TGTF are no strangers to these young talents. FFO: Kings of Leon, The Metric System, Stereophonics
[youtube]https://www.youtube.com/watch?v=nu8M3Cw6fuU[/youtube]
A.S Fanning – singer/songwriter / Berlin via Dublin
A.S Fanning is a musician, singer, songwriter and producer who was previously the frontman for the underrated Dublin band The Last Tycoons. Since their end, Fanning has relocated to Berlin and began writing music alone. So far, he's only released one single, 'Carmelita' so far; however, keep your eyes and ears peeled for his debut album funded by Kickstarter crowdfunding, 'Second Life', expected to drop this March. FFO: The Veils, Editors, Tom Waits
[youtube]https://www.youtube.com/watch?v=T4ZkO9KaRv8[/youtube]
Birds of Olympus – rock / Wicklow
Spud Murphy (vocals), Donal Colohan (guitar), Darin Joye (guitar), Rory Clarke (bass) and Derek Byrne (drums) make up the Wicklow based self-proclaimed neo-psychedelic band Birds of Olympus. Keeping in line with their rather cryptic and metaphorical online bio, the birds hatched from their eggs in late 2015, and since have been testing the waters with their fresh blend of pop. They've released three singles – 'Vine of the Soul', 'Cinder to the Sun' and 'Lights Out' – and have a debut EP on the way. FFO: Modest Mouse, Villagers, Tame Impala
Cloud Castle Lake – electronic / Dublin
Dublin-based electronic trio Cloud Castle Lake have no fear when it comes to experimenting with sounds. Blending gloomy r&b chord progressions with Aphex Twin-esque acid techno drum grooves topped with an angelic falsetto voice, Brendan Jenkinson, Rory O'Connor and Daniel McAuley have perfected the art of cross-genre music. They released their debut EP 'Dandelion' in September 2014 and since then have only put out one single, 'Glacier'. We're looking forward to seeing what they unveil in Austin. FFO: Radiohead, Aphex Twin, Wild Beasts, Capua Collective
[youtube]https://www.youtube.com/watch?v=52jv-RxWjJA[/youtube]
EMBRZ – electronic / Dublin
EMBRZ is the brainchild of Dublin-born musician Jack Casey who started out as a guitar player in a band as a teenager. It's said that an early deadmau5 track turned him on to electronic music. Since this discovery, EMBRZ has contributed massively to the vast world of EDM-influenced music with a rich blend of emotive dance music and downtempo beats. His remixes of The 1975's track 'Settle Down' and Ellie Goulding's 'How Long Will I Love You?' gained over 1 million plays when released and since then have almost tripled. A flurry of singles have been released in the last 2 years: 'Silent', 'Lights', 'Home' and 'Breathe'. FFO: The 1975, Kygo, Bantum
Loah – soul / Dublin
The music created by Sallay Matu Garnett, aka Loah (pictured at top at an Other Voices show last year), comes as no surprise considering her background. Born in Kenya, but raised between Dublin, Sierra Leone and Maynooth, she now works as a part-time pharmacist in Dublin and writes stellar African infused soul/fusion music. Her rich blend of her African roots is what sets her apart from any other fusion artists, thus pioneering a genre Loah calls "ArtSoul". Loah recently collaborated with Irish DJ and Bantum on single 'Take It' from his 2017 RTE Choice Music Prize Irish Album of the Year Award-nominated debut 'Move'. FFO: Lianne La Havas, Nina Simone, Childish Gambino, Patti Smith
[youtube]https://www.youtube.com/watch?v=0HWK2N-uLK0[/youtube]
Picture This – pop/rock / Dublin
When Ryan Hennessy (vocals/guitar) and Jimmy Rainsford (drums) began writing music in 2015, neither of them anticipated that they would sell out 8 dates in total at Dublin's Olympia Theatre, making Picture This the first band to do this since R.E.M in 2007. Picture This' success started in 2015 when Hennessey posted a video to Facebook of himself singing 'Take My Hand', culminating over 1.2 million views online. They booked a debut show in Dublin's Grand Social venue, which sold out in less than 30 minutes. The gig moved to The Academy, which also sold out making them the first band to sell the venue out on their first gig. Their self-titled debut EP was released last summer, and we imagine a debut LP won't be far behind. FFO: The Coronas, Kodaline, Ed Sheeran, Stereophonics
[youtube]https://www.youtube.com/watch?v=T72qlb4SVeg[/youtube]


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Q: how a django application can interact with users/clients local device filesystem? I have made an application using django which has a feature to download the youtube videos and I have hosted it on heroku. By default, the contents that the user downloads gets stored in the heroku cloud where application files resides.But i want those contents to get downloaded in user's local file system.
here is the code which downloads the fetched video in the downloads folder of heroku cloud,but i want it to download the video and store it in user's local filesystem
import pytube
import os
import sys
from pathlib import Path
from pytube import YouTube
path_to_download_folder = str(os.path.join(Path.home(), "Downloads")
yt=YouTube(sys.argv[1])
stream=yt.streams.get_lowest_resolution()
stream.download(output_path=path_to_download_folder)`

how can i do so? pls help

A: You have mentioned that the video is downloaded in Downloads folder in Heroku Cloud. Then you can do the following

*

*Get the path of the downloaded file from Heroku

*Put a <a href="your file path goes here..."> for the user to download the video on his machine.

redpajama_set_name: RedPajamaStackExchange


Sometimes it's painful trying to get kids to eat their vegetables. Here are five things to shift your mindset and invite imagination into the process.
Every day is different. One day, my friend's kid says he LOVES broccoli and he happily devours a plateful. The next day, he refuses to eat broccoli and insists he doesn't like it. Nutrition is not made in one day…tomorrow is a new day.
Every year is different. Out of nowhere, I started to love the taste of fennel after trying it for years and hating it. Keep introducing the same vegetables to kids: studies say we have to try something seven times to know if we like it or not. And we may change our mind later in life.
Every vegetable is different. What if there is some spinach on the plate and your child won't eat it? I believe it's potentially dangerous to tell your child in that moment, "Eat your vegetables: they are healthy." What happens when the child responds that she doesn't like vegetables? Now it's about not liking ALL vegetables instead of not liking this particular recipe of spinach in this particular moment.
Every kid is different. I used to beg my mom for Brussels sprouts, but I'm told this is not the norm. If your first child doesn't like Brussels sprouts, it doesn't mean your second child won't. Keep trying.
Finally, meal time is NOT the only time to talk vegetables. Share stories to keep vegetables at the forefront of kid's imagination. Vegetables don't have to be boring.
That's why my friend Stacey Murphy is giving away free copies of her children's ebook My Dinosaur Ate My Broccoli (ages 6-8). It's a fantastical tale about Nya and her best friend Bronty who grow strong and achieve their dreams by eating lots of vegetables.
But the free copy is only available for a short time, now until Sunday, June 19. So go grab your copy now.
And if you're interested in print copies, check out her Kickstarter to raise money for paperback production plus the next two stories in the series My Dinosaur Sat on My Shitake and My Dinosaur Farted in My Greenhouse.
Invite some imagination into meal time.
We should encourage our kids to love vegetables because it is very helpful to their health. If you have problems in making them do it, you should follow these tips. They will surely help a lot.
Wow, this is very good blog. For me as a mother, I always tell my kids to eat vegetables. I do customize vegetable foods, I even read books with them about vegetables.


Genius is one percent inspiration and ninety-nine percent perspiration. MIT OpenCourseWare's bold idea to publish learning materials for free has become a worldwide movement, enabled by the contributions of a large number of people. Fifteen years after its launch, the achievement of Open Education is that it has become an invaluable part of the global education sector, disseminating OER both within institutions and to the public. Yet, we should admit that we have also found some limitations and challenges to scaling up. To cross this chasm, we will explore the current status of Open Education and the challenges we face, especially from the perspective of non-English-speaking countries. What is the best way to spread the great idea of openness in education?
In 2036, new cultural practices will have been sufficiently embedded in the fabric of society to support the global acceptance and adoption of open education and its practices in the reclaimed commons. The default license in education will be Creative Commons, albeit with the standard simplified to CC0. With technological advances, the continuous loop of Open Educational Resources used in context for learning, with immediate assessment and feedback data on learning outcomes, will be realized. Rapidly, useless content and assessments will be reworked and improved. Pedagogical data gathered, stripped of individual identifying information, will be openly available to accelerate the next stage of innovation. Efficiencies in both in learning and cost will be achieved.
World leaders met in in Nairobi today to celebrate universal access to education for all. The final free Android tablet and solar charger were ceremoniously handed to Amani Adoyo, a grade three student at Bangani Secondary School. The three-year-old "Global Open Education Access" project has surpassed all expectations by providing everyone with universal access to quality educational resources in local languages, customized by local teachers, schools, and universities.
World leaders decided in 2016 that the United Nations' Sustainable Development Goals could not be solved by the less than 10% of the global population which held tertiary degrees. Global warming, clean water scarcity, high costs of clean energy technologies, and refugee crises required all minds to learn about and collectively solve these global challenges.
This morning Dan Colman updated his master list (OpenCulture) of free and open courses offered by top universities, a list that now includes 1,200 courses and roughly 40,000 hours of audio and video instruction. (Colman, 2016) This is actually only a small percentage of the tens of thousands of learning resources available freely and openly on the internet.


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Home Top News AirAsia X plans major overhaul in fight for survival
AirAsia X plans major overhaul in fight for survival
The debt-ridden longhaul arm of AirAsia has proposed a restructuring plan geared at facilitating an injection of fresh equity in a last-ditch effort to save the Malaysian budget carrier from going belly up.
Leading the restructuring is newly-appointed deputy chairman, Lim Kian Onn, who is a chartered accountant and former investment banker.
AirAsia to undergo debt restructuring as it seeks to raise fresh equity critical to its business continuity
AirAsia X said in a statement that it is facing severe liquidity constraints, amid the prolonged Covid-19 crisis, and that "an imminent default of contractual commitments will precipitate a potential liquidation of the airline".
In order to raise fresh equity which is essential to restart the airline, it needs to undergo a major debt restructuring and a renegotiation of its financial obligations, it added.
If approved, the restructuring plan will secure the airline's continued ability to fly again, said AirAsia X. The carrier's current total liabilities of RM10.3 billion (US$2.5 billion) exceeds its total assets of RM9.36 billion.
The group has proposed that the debts amounting to RM63.5 billion to unsecured creditors be reconstituted into an acknowledgement of indebtedness for a principal amount of up to RM200 million. It is also seeking for the balance amount to be waived.
It said that the move is "aimed at enabling the group to address its debt obligations in an orderly manner and to arrive at a debt structure that is sustainable from future operating cash flows".
As well, the revision of the group's business plan entails route network rationalisation, aircraft fleet right-sizing, cost base overhaul and workforce optimisation in order to ensure a leaner and more sustainable business.
Citing continued support from business partners as critical to drive the success of the proposed restructuring plan, the carrier said that it hopes to enter into agreements "that are reflective and supportive of the airline's revised business plan upon successful completion of the restructuring".
Under the proposed scheme, AirAsia Unlimited Pass holders and guests with valid flight bookings will receive travel credits with extended validity for future travel or purchase of seat inventory.
AirAsia X CEO Benyamin Ismail said: "We remain committed to our guests, Allstars, business partners and shareholders to ensure we build a viable and sustainable airline for the longhaul, and for the survival of this airline, the proposed restructuring plan is our only option.
"It has been extremely difficult for the airline during this period as we had to ground all scheduled flights, implement salary cuts and retrenchment for the first time in the company's history as a consequence of the pandemic. Similar exercises are likely to continue during the restructuring process, but our focus is to ensure a successful restructuring to keep as many jobs as possible.
"We have a low cost base, we are in the right part of the market and many of our key markets are in green zones which are likely to reopen first. We have a robust recovery strategy in place, and with the continued support from our stakeholders, we will overcome all challenges and come out stronger."
According to Ismail, the airline's immediate focus is to obtain all necessary approvals and execute the proposed restructuring plan over the next few months.
Restructure
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redpajama_set_name: RedPajamaCommonCrawl


text:
Bachseifen is a small river of North Rhine-Westphalia, Germany. It flows into the Heller near Burbach.

See also
List of rivers of North Rhine-Westphalia

Rivers of North Rhine-Westphalia
Rivers of Siegerland
Rivers of Germany

redpajama_set_name: RedPajamaWikipedia


text:
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Soldiers from 1-8, 3rd Brigade, of the 4th Infantry Division search a store in the industrial section December 17, 2003 in Samarra, Iraq. A major...
Famine victims in a hovel at Samara camp - now called Kuibijshev during the Russian famine.
Army 4th Infantry Division 1-12 pause to radio in their present position during a nighttime foot patrol of the city center August 21, 2003 in...
An American military training team and their Iraqi army colleagues conduct a foot patrol in the historic centre of the city of Samarra on February...
Bradley fighting vehicles from 1-8, 3rd Brigade, of the 4th Infantry Division prepare to leave the industrial zone of Samarra, 17 December, 2003. A...
Members of Iraq's anti-terror brigade are seen on a road between Baghdad and Samarra, as they make their way to the Balad area, north of the capital...
Abu Dulaf mosque commissioned by Al-Mutawakki, Samarra , Iraq. Abbasid civilisation, 9th century.
Malwiya minaret of the Great mosque of Samarra is seen on May 4, 2019 in Iraq's Samarra. 9th century Abbasid mosque's Malwiya minaret that its...
Golden dome and minarets of the Samarra mosque, Mesopotamia, 1918. Mesopotamia, formerly part of the Turkish Ottoman empire, was under British...
Picture shows 21 April 2003 the court of the royal palace in the ancient city of Hatra in the desert area in northwest Iraq between Mosul and...
Iraq. Amata Palace. Outskirts of Samarra.
City walls, Samarra, Mesopotamia, 1918. Mesopotamia, formerly part of the Turkish Ottoman empire, was under British military control from October...
In this U.S. Military handout, Iraqi Army Soldiers from 4th Iraqi Army Division leave a CH-47 Chinook helicopter during of Operation Swarmer March 16...
Army 4th Infantry Division, 1st Battalion, 66th Regiment Abrahms tank heads out for an evening patrol from its base August 12, 2003 in Samarra, Iraq....
Iraqi security forces guard a symbolic funeral procession attended by high-ranking officials in Baghdad on October 23, 2019 for Major General Ali...
Iraq's Prime Minister Adel Abdel Mahdi speaks during a symbolic funeral ceremony in Baghdad on October 23, 2019 for Major General Ali al-Lami, a...
Under the guard of US Army Sgt. Angelica Lopez of the 401 MP Company, 720 MP Battalion, based at the 4th Infantry Division headquarters in Tikrit, an...
palm trees in coast rica - samarra iraq stock pictures, royalty-free photos & images
September 2019, Iraq, Samarra: A member of the Peace Companies , an Iraqi armed group linked to Iraq's Shia community and part of the Iraqi...
Malwiya minaret of the Great mosque of Samarra . Iraq, 9th century.
the shrine of imam moussa al kadhim - samarra iraq stock pictures, royalty-free photos & images
Iraqi Shiite men brandish their weapons as they protest the bombing of a Shiite holy shrine on February 22, 2006 in the Sadr city neighborhood of...
Samara from "The Ring Two" stares out at pedestrians from a window during a promotion at the Virgin Mega Store Union Square March 17, 2005 in New...
This picture taken on January 11, 2020 shows a view of the dome of the ninth century mosque of Ibn Tulun in the Egyptian capital Cairo, with the its...
Picture shows the Iraqi Malwiya minaret, a mid-ninth century structure in the restive city of Samarra, north of Baghdad, on May 25, 2015. The 50m...
Iraqis visit Malwiya minaret, a mid-ninth century structure in the restive city of Samarra, north of Baghdad, upon its official re-opening to...
Demonstrations - Indian Shiite Muslims burn poster of US President George W Bush during a protest against the bombing of the major Shiite Askariya...
Musali Mohammed al-Mujamaie a 92-year old Iraqi farmer sits next to Muna Mukhlif al-Juburi , his new 22-year old wife, the wives of his grandsons and...
exotic stamps of the middle east - samarra iraq stock illustrations
This handout picture released by U.S military on March 16 shows U.S. Helicopters taking off for Operation Swarmer March 16, 2006 at Forward Operating...
Iraqi security forces and members of the Saraya al-Salam , a group formed by Iraqi Shiite Muslim cleric Moqtada al-Sadr, inspect the site of suicide...
Iraqi Shiite men brandish their weapons and chant slogans as they protest the bombing of a Shiite holy shrine on February 22, 2006 in the Sadr city...
An Iraqi boy runs toward his mother in front of the XIX century spiral minaret September 25, 2002 in the town of Samara, 50 miles north of Bahgdad....
Iraqi mourners pray by coffins draped in the national flag during a funeral in the central holy shrine city of Najaf on December 13 for fighters of...
Nigerien soldier loads ammunition into a clip during a training exercise September 22, 2004 in Samara, Niger. Through the Trans-Sahara Counter...
Iraq - Samarra - The Great Mosque - Spiral minaret
Iraqis mourn by coffins draped in the national flag during a funeral in the central holy shrine city of Najaf on December 13 for fighters of the...
The ancient town of Samarra, Iraq, now a place of pilgrimage for Shi'ite Muslims.
Man reacts as Iraqi mourners carry a coffin draped in the national flag during a funeral in the central holy shrine city of Najaf on December 13 for...
Iraqis work to clear the rubble from the destroyed holy shrine of al-Hadi in the northern city of Samarra, 23 February 2006. Gunmen have killed at...
The Spiral Minaret of Samarra, also known as the Shrine of Ali Al Hadi, one of Seven Wonders Of The World.
September 2019, Iraq, Samarra: A general view of Al-Askari Shrine, a Shi'ite Muslim mosque and mausoleum, as members of the Peace Companies , an...
Sorry, your search returned zero results for "samarra iraq"


text:
Tag: tear sheets
Quiet in the vibrant library!
Shhhh. No photographing in the library! Turn your camera shutter to silent mode!
A visit to a library, and then another, and another. As much as I'm a reader, keeping my thirst for knowledge of the world around us satiated, I'm not often in libraries. That is until a recent reportage photography and filming commission for the Scottish Libraries and Information Council, when I undertook a tour of libraries around Scotland, photographing and filming their various projects and initiatives to keep libraries, and in particular, school libraries, vibrant places of learning which can compete for attention in the modern, multi-distraction digital world.
From Glasgow, to Aviemore, Inverness, Aberdeen and back, a multitude of schools and public libraries hosted me, and showed me around. This was a great photography job to shoot, coming on the back of a 100-days trip around Australia photographing for the Commonwealth Games. This library job let me reconnect with Scotland after almost a year on the road, and let me enjoy driving by myself, photographing and seeing places across the country.
Scottish Library and Information Council from JshPhotog on Vimeo.
Undertaking the logistics and organisation of all the shoot locations myself, juggling phone calls and emails, lining visits up in order, seeking out specifics and hunting for the unusual. It's a great way of doing a shoot, keeping it all under control, and being manager of your own time and schedule. It can of course be beneficial to delegate this and work with a team, but on a job such as this one being left to it was the right way to go about it all.
The work has appeared in the SLIC 'Vibrant Libraries, Thriving Schools' brochure and report, and the filming I undertook, along with editing the final footage and assembling it all, appeared as a short film for social media use. Selected pages from the report…
Photographing spirits!
Photographing things that go bump in the night! Another editorial and portrait photography shoot from recent times, photographing at the National Trust for Scotland's Culross Palace and spending an evening, after hours, locked in the palace with paranormal enthusiast and palace custodian Linda Whiteford.
Kinda tricky to photograph that which can't be seen, and maybe only felt by a cold whisper of air against your hands (or was it just a draught?), or a bump and sudden thud on the floor when you know there is no-one else in the building…all very spooky. I've done many crazy assignments in my photography career but this was up there with the more unusual, especially when we sat in cold rooms, in the dark, chatting to the spirits…
But, it all worked fine, Linda was great for collaborating with, making some portraits with, and the mustard yellow walls of the palace exterior looked lovely. And then later one, with a bit of judicial photographing into old mirrors, photographing into the flare of torches etc, we managed to bring about the feeling of supernatural goings-on.
Here's the spread from the magazine, and also a few outtakes from the evening's photography assignment.
Some new commercial work I photographed recently for the UNICEF UK website, for their new campaign about air quality and the rights of children to have fresh air! It was great fun photographing this, the children enjoyed getting stuck into bubbles and wind musical instruments, and using various concepts to illustrate air and breathing. Great fun taking the pictures and nice to see them used so well by the client on such a worthy cause.
And one below, from a previous campaign for Rights Respecting Schools. This one photographed in Wales.
Clyde Built – Shipbuilding on the River Clyde
I'm pleased to announce that some of my archive work, of shipbuilding on Glasgow's River Clyde in the 1990's, has been published as a small book, and is due to be exhibited over the summer here in Glasgow.
The photographs, shot in the Kvaerner, Yarrow and Ferguson's shipyards on the River Clyde, have been published as a limited edition book by the industrious Craig Atkinson at Café Royal Books: 'Shipbuilding on The River Clyde'.
A selection of the work from the book will be exhibited, in a group show 'Govan / Gdansk' at Street Level Photoworks gallery in Glasgow, Scotland, from 4th June until 31st July.
The show opening is Friday, June 3rd, at 6pm if you're in the neighbourhood and would like to pop by. My book will be on sale at the show also, and on Saturday 4th June I'll be talking about the work at the gallery. Please join us!
The book and exhibition were showcased a few days back by the Daily Record. You can read the article here, and here's how it looked in a pretty decent spread.
This exhibition at Street Level, curated by director Malcolm Dickson, will encompass the work of four photographers- Michal Szlaga of Poland, Nick Hedges of England, Raymond Depardon of France, and myself. The works on show link the shipyards of Govan in Glasgow and Gdansk in Poland and their post-industrial decline and resilience.
Michal Szlaga's 'Stocznia/Shipyard – Documents of Loss' is the outcome of a 15 year project in which Szlaga has documented the buildings of the Gdansk Shipyard, their gradual demolition and the construction of new ones. For Szlaga, the shipyard represents a dynamic landscape of industrial architecture reflecting history and its people, the images loaded with memories of the turbulent times of the anti-communist revolution.
In 1980, the French Magnum photographer Raymond Depardon was commissioned by the Sunday Times to record aspects of Glasgow and the evocative results are now lauded as telling an unremittingly bleak portrayal of urban deprivation and decay. In 1968 Nick Hedges was commissioned by the housing charity Shelter to document the abject living conditions being experienced in slum housing in the UK, including Glasgow. The images here are from the seminal and humanistic body of work 'A Life Worth Living', which, like Depardon's work, see children happily at play against the backdrop of the Govan cranes, evidence of a community spirit unthwarted by the harsh realities of life. Shot for editorial clients, Jeremy Sutton-Hibbert's 'Shipbuilding' from the mid-1990's is a critical time capsule at the Kvaerner shipyards in Govan which catches the monumentality of this industry and the people who drove it.
The exhibition 'Govan/Gdansk' and the programme of events around the exhibition are organised in association with an RSE – funded research network on Regeneration and Waterfront Heritage Zones, exploring participatory approaches to waterfront regeneration in urban spaces in transition in Northern European cities. The main case studies of regeneration focus on Govan and wider Glasgow (Scotland) and Gdansk (Poland), each of which are dealing with the consequences of the post-industrial demise of the shipbuilding industry, trying to find a transition into a new economy and community.
Associated Events:
Street Level Photoworks | 4th June 2016, 1-4pm
Symposium: Attracted to dereliction? Documenting post-industrial heritage
• Prof Katarzyna Kosmala (UWS) Introduction – Gdansk/Govan; Govan/Gdansk
• Michal Szlaga talk and tour of the works
• Dr Waldemar Affelt (Nicolaus Copernicus University, Torun, and the Main Conservation Commission to the General Conservator of the Polish Republic) addressing issues of documenting and conversation, linking to his on-going research on Gdansk shipyard and post-industrial regeneration.
• Talks: Jeremy Sutton-Hibbert, Chris Leslie
• Discussion facilitated by Graham Jeffery (UWS)
UWS, School of Media Culture and Society, Paisley Campus | 3rd June 2016, 1-3pm, Room A100
Seminar is free and open to public. To register pls email: Susan.Caldwell@uws.ac.uk by 31 May.
UWS research seminar series: Panel on politics of regeneration, artists lens and community engagement with Polish artist Michal Szlaga's video screening
• Chair Prof Katarzyna Kosmala (UWS)
• Dr Waldemar Affelt (Nicolaus Copernicus University, Torun, and the Main Conservation Commission to the General Conservator of the Polish Republic) discussing his collaboration with Michal Szlaga in Gdansk shipyard, problematizing the heritage value of the site.
• Roman Sebastyanski (UWS) addressing Gdansk shipyard regeneration through artists lens and public participation.
• Dr Peter Matthews (Stirling University) discussing politics around connecting communities to/in post-regeneration era.
Alongside the exhibition we will be selling copies of Raymond Depardon's 'Glasgow'.
112 pages, 30x23cm, £20, and Jeremy Sutton-Hibbert's 'Shipbuilding on the River Clyde' on Cafe Royal Books, £7.
Recent Tear Sheets
Here's a couple of tear sheets from recent work…
First up, nice usage of some photography I shot on assignment for Greenpeace in Iitate, near Fukushima, in Japan, covering the nuclear radiation decontamination efforts there. It's a shocking state of affairs there, the Fukushima nuclear disaster is far from finished and it is estimated the clean up will take at least another 40 years…but of course Prime Minister Shinzo Abe and his government wish to present a clean, decontaminated face to the world as the 2020 Olympics looms.
Here's the cover and a spread from the recent Greenpeace report which used the images, and which makes for sobering reading.
Image above shows a Japanese worker 'decontaminating' the forest, one stone at a time…the moss will grow back in weeks, and be contaminated due to the radiation held within the soil. A couple more spreads below from within the report…
Another tear sheet just popped in to the studio is the below, a series of images shot for Historic Scotland magazine documenting a day in the life of one of their Rangers, and a journalist trying out the job for the day. It was a fascinating reportage and portrait shoot, on Edinburgh's Holyrood Park and Arthur's Seat, granting me a fascinating insight in the park life, its history and the archaeology of the area.
The job required it was shot in mid-Winter, but the brief required the images to look like Spring as that is when the article would run in the magazine. The day of the shoot was a cold, dark, grey, winter day. Nothing like spring. But then the clouds parted and for 10 minutes there was blue sky and sunshine. I shot like crazy. Hey presto, spring time.
Alas, I was disappointed by the usage of the images, by the spread. The design wasn't to my liking so much, but the client was happy and that ultimately is the aim.
More tear sheets to come soon…


text:
Q: fuzzy matching of 2 words This:
 {
      ""query"": {
        ""match"": {
          ""attachment.content"": {
              ""query"": ""hello world"",
              ""minimum_should_match"": 2,
              ""fuzziness"": 1
          }
        }
      }
    }

is meant to return items which contain:
hello world
hello Vorld
pello world

In other words where max. one character is different. It apears to also return items only containing:
hello

why is this in the light of specifying minimum_should_match = 2 - i.e. imposing AND?
PS:
Part of the relevant mapping:
{
  "my_great_index" : {
    "mappings" : {
      "properties" : {
        "attachment" : {
          "properties" : {
            "author" : {
              "type" : "text",
              "fields" : {
                "keyword" : {
                  "type" : "keyword",
                  "ignore_above" : 256
                }
              }
            },
            "containsMetadata" : {
              "type" : "boolean"
            },
            "content" : {
              "type" : "text",
              "fields" : {
                "keyword" : {
                  "type" : "keyword",
                  "ignore_above" : 256
                }
              }
            },
            "content_length" : {
              "type" : "long"
            },
            "content_type" : {
              "type" : "text",
              "fields" : {
                "keyword" : {
                  "type" : "keyword",
                  "ignore_above" : 256
                }
              }
            },
            "date" : {
              "type" : "date"
            },
            "detect_language" : {
              "type" : "boolean"
            },
            "indexed_chars" : {
              "type" : "long"
            },
            "keywords" : {
              "type" : "text",
              "fields" : {
                "keyword" : {
                  "type" : "keyword",
                  "ignore_above" : 256
                }
              }
            },
            "language" : {
              "type" : "text",
              "fields" : {
                "keyword" : {
                  "type" : "keyword",
                  "ignore_above" : 256
                }
              }
            },
            "name" : {
              "type" : "text",
              "fields" : {
                "keyword" : {
                  "type" : "keyword",
                  "ignore_above" : 256
                }
              }
            },
            "title" : {
              "type" : "text",
              "fields" : {
                "keyword" : {
                  "type" : "keyword",
                  "ignore_above" : 256
                }
              }
            }
          }
        },
        "something_else" : {
          "type" : "text",
          "fields" : {
            "keyword" : {
              "type" : "keyword",
              "ignore_above" : 256
            }
          }
        }
        ....

PPS:
This is how I create the index in C#:
https://www.elastic.co/blog/the-future-of-attachments-for-elasticsearch-and-dotnet

public static void CreateIndex(ElasticClient client, string indexName)
{
    var createIndexResponse = client.Indices.Create(indexName, c => c
    .Settings(s => s
        .Analysis(a => a
        .Analyzers(ad => ad
            .Custom("windows_path_hierarchy_analyzer", ca => ca
            .Tokenizer("windows_path_hierarchy_tokenizer")
            )
        )
        .Tokenizers(t => t
            .PathHierarchy("windows_path_hierarchy_tokenizer", ph => ph
            .Delimiter('\\')
            )
        )
        )
    )
    .Map<MyItem>(mp => mp
        .AutoMap()
        .Properties(ps => ps
        .Text(s => s
            .Name(n => n.Id)
            .Analyzer("windows_path_hierarchy_analyzer")
        )
        .Object<Attachment>(a => a
            .Name(n => n.Attachment)
            .AutoMap()
        )
        )
    )
    );

    var putPipelineResponse = client.Ingest.PutPipeline("attachments", p => p
    .Description("Document attachment pipeline")
    .Processors(pr => pr
        .Attachment<MyItem>(a => a
        .Field(f => f.Content)
        .TargetField(f => f.Attachment)
        )
        .Remove<MyItem>(r => r
        .Field(ff => ff
            .Field(f => f.Content)
        )
        )
    )
    );
}

A: I just tried your example on elastic-search version 7.6 and it worked for me. Can you provide how you indexed your data ie sample docs and version of your elasticsearch?
Also query which you provided is not syntactically correct.
Index def with less fields
{
    "mappings": {
        "properties": {
            "attachment": {
                "properties": {
                    "author": {
                        "type": "text"
                    },
                    "content": {
                        "type": "text"
                    }
                }
            }
        }
    }
}

Indexed 3 documents which you are expecting
{
    "attachment.author": "bar",
    "attachment.content": "pello world"
}

{
    "attachment.author": "bar",
    "attachment.content": "hello world"
}

{
    "attachment.author": "bar",
    "attachment.content": "hello vorld"
}

Same search query which you provided with correct syntax
{
    "query": {
        "match" : {
            "attachment.content" : {
                "query" : "hello world", --> properly closed quotes
                "minimum_should_match": 2,
                "fuzziness": 1
            }
        }
    }
}

Search results
 "hits": [
            {
                "_index": "fuzzy",
                "_type": "_doc",
                "_id": "1",
                "_score": 0.9400072,
                "_source": {
                    "attachment.author": "foo",
                    "attachment.content": "hello world"
                }
            },
            {
                "_index": "fuzzy",
                "_type": "_doc",
                "_id": "2",
                "_score": 0.8460065,
                "_source": {
                    "attachment.author": "bar",
                    "attachment.content": "hello vorld"
                }
            },
            {
                "_index": "fuzzy",
                "_type": "_doc",
                "_id": "3",
                "_score": 0.8460065,
                "_source": {
                    "attachment.author": "bar",
                    "attachment.content": "pello world"
                }
            }
        ]

There is another part of your question, which is documents containing only hello coming in the search result even though minimum_should_match=2, which is also working fine, I indexed another doc as
{
    "attachment.author": "bar",
    "attachment.content": "my world" --> only world
}

Again same search query returns earlier 3 docs only, but if we change minimum_should_match to 1, it returns all 4 docs.
{
                "_index": "fuzzy",
                "_type": "_doc",
                "_id": "1",
                "_score": 1.0498221,
                "_source": {
                    "attachment.author": "foo",
                    "attachment.content": "hello world"
                }
            },
            {
                "_index": "fuzzy",
                "_type": "_doc",
                "_id": "2",
                "_score": 0.9784871,
                "_source": {
                    "attachment.author": "bar",
                    "attachment.content": "hello vorld"
                }
            },
            {
                "_index": "fuzzy",
                "_type": "_doc",
                "_id": "3",
                "_score": 0.91119266,
                "_source": {
                    "attachment.author": "bar",
                    "attachment.content": "pello world"
                }
            },
            {
                "_index": "fuzzy",
                "_type": "_doc",
                "_id": "4",
                "_score": 0.35667494,
                "_source": {
                    "attachment.author": "bar",
                    "attachment.content": "my world" --> note last 4 doc
                }
            }
        ]


text:
Cerkiew św. Mikołaja w Rzeżycy () – molenna staroobrzędowców wybudowana w połowie XIX wieku znajdująca się w Rzeżycy przy J. Siņicina ielā 4.

Cerkwie na Łotwie
Drewniane molenny
Staroobrzędowcy na Łotwie
Cerkiew św. Mikołaja w Rzeżycy
Świątynie pod wezwaniem św. Mikołaja


Eric Pinder lived and worked alongside Nin on the summit of Mount Washington for seven years, and wrote more about his adventures there in a book for grownups: Life at the Top.
T.B.R. Walsh is the award-winning illustrator and co-author of Treehouse Chronicles. On his blog, he shares sample illustrations and describes the challenges of illustrating a children's book like Cat in the Clouds.
Nin needs a home. Stray cat Nin drifts from house to house until he meets a meteorologist named Mark. Then Nin begins his greatest journey yet—to the top of Mount Washington. Follow Nin to a land where the wind howls, snow swirls and wild bears roam. At the famous Mount Washington Observatory, Nin learns that the best friends—and a wonderful home—can be found anywhere, even high above the clouds.
Richly illustrated with watercolors by T.B.R. Walsh, Cat in the Clouds will delight children and adults with a peek inside the famous weather observatory atop Mount Washington, where a handful of hardy meteorologists and clever cats have watched the weather since 1932. An appendix introduces children to other cats on Mount Washington, from Oompha and her kittens on the day of the record-breaking Big Wind in 1934 to the newest observatory cat, Marty.
Cat in the Clouds is the true story of Nin's adventures from the moment he showed up as a stray at the Putney School in Vermont to his fun-filled days as a "weather cat" on top of Mount Washington, the Home of the World's Worst Weather.
Cat in the Clouds was in good company at the 2014 National Book Festival in Washington, D.C., representing New Hampshire at the "Discover Great Places through Reading" Pavilion of the States.


text:
\section{Introduction} \label{sec:intro}

A decade ago a mysterious new class of millisecond-duration radio transients called Fast Radio Bursts (FRBs) were discovered \citep{lorimer2007}. These are highly dispersed, bright ($\rm \sim Jy$) {bursts detected from high galactic latitudes} \citep{lorimer2007,Keane2012, thor2013,Spitler2014, Pet2015, Masui2015, Keane2016, cham2016, Ravi2016, Bannister2017, Petroff2017}. Since the first discovery, twenty-six FRBs have been discovered and twenty two have been published\footnote{http://www.astronomy.swin.edu.au/pulsar/frbcat/}. The large dispersion measure (DM), if interpreted as due to dispersion of free electrons in the intergalactic medium, implies that the sources are at cosmological distances, e.g. in the redshift range $0.2-1.5$. The isotropic energy release of FRBs is estimated to be in the range of $\sim 10^{40-41}$ erg \citep[e.g.][]{thor2013}.

Out of these detected FRBs, one source, FRB 121102 (also known as the ``repeater''), clearly repeats \citep{Spitler2016, Scholz2016}. Thanks to its repeating behavior, {a compact, steady radio counterpart associated with the bursting source} was detected  \citep{Chatterjee2017,Marcote2017} and a star formation host galaxy at $z=0.193$ was identified \citep{Tendulkar2017}, which provides solid evidence of the cosmological origin of at least this FRB source. {Most other FRBs have been re-observed after their discoveries}, but so far no positive detection of a repeating burst has been reported \citep[e.g.][]{Petroff2015,cham2016}. One possible exception might be the FRB 110220 / FRB 140514 pair, which are in the same 14.4 arcmin beam and are 9 arcmin apart. \cite{Piro2017} hypothesized that they may originate from the same neutron star embedded within a supernova remnant (SNR) that provides an evolving DM as the ejecta expands. A detection of a third burst with an even smaller DM from this location  would support this hypothesis. In any case, {it was speculated by some authors  \citep[e.g.][]{Spitler2016,Lu2016}} that other FRBs are not much different from the repeater, and the non-detection of the repeating bursts from those sources might be due to the lower sensitivity of the Parkes telescope ({which detected most of the FRBs published so far}) than the Arecibo 300-m telescope (which detected many bursts from the repeater). On the other hand, it has been also suggested \citep{Keane2016} that there might be more than one class of FRBs: e.g. repeating and non-repeating ones. The non-repeating FRBs are found to be usually unresolved, whereas the repeating bursts of FRB 121102 are all resolved with a temporal structure.

Many FRB progenitor models have been proposed in the literature. Some models invoke non-catastrophic events such as giant magnetar flares \citep{pop2010,kulkarni14,katz16}, giant pulses from young pulsars \citep{Cordes2016, Connor2016} and young rapidly-spinning magnetars \citep{Metzger2017,Kashi2017}, repeated captures of asteroids by a neutron star \citep{Dai2016}, and repeated ``cosmic combing'' events when an astrophysical stream interacts with the magnetosphere of an old neutron star \citep{Zhang2017}. Alternatively, other classes of models invoke catastrophic events, such as the collapse of supra-massive neutron stars (the so-called ``blitzars") \citep{FR2014, Zhang2014} and mergers of compact stars (NS-NS, NS-BH, BH-BH) \citep{Tot2013, Zhang2016, wang16}. The FRBs produced from these systems would not repeat.

In this paper, we use the published detection data of the repeating FRB 121102 and the non-detection data of other FRBs to investigate whether the FRB 121102 source is representative of all FRBs in terms of its repeating behavior.

\section{FRB Repeating time interval - Flux Ratio Distribution}

If other FRBs also repeat but no repeating bursts are detected, {it could be due to either of the following two reasons}: (1) The repeating time interval (duty cycle) is long, and the current observation time is not long enough to catch another burst yet; (2) {Other repeating bursts might have occurred, but they are too faint to be detected by the searching telescopes (e.g. Parkes).} In order to quantify these two effects, we introduce two parameters: the {\em observed} time interval between bursts, $\Delta t$, and the peak flux ratio between two adjacent bursts, $S_{i}/S_{i+1}$. The former addresses the duty cycle of the repeating bursts, whereas the latter addresses the probability that the additional bursts are too faint to be detected.

\subsection{The Raw $\Delta t - (S_i/S_{i+1})$ Plot}

For both repeating FRB 121102 and other non-repeating FRBs, observations were initially carried out in a certain time interval. Later the sources were re-observed multiple times. For each source, there are several time gaps during which no telescope was observing the source. As a result, it is impossible to precisely define the intrinsic time intervals between two adjacent bursts. In our analysis, we define an {\em observed} time interval $\Delta t$ as the time interval between bursts during the observational time span only, so that the time gaps during which no observation was carried out are removed. In order to test the validity of using $\Delta t$, we perform a set of Monte Carlo simulations by assuming different (uniform, power law, Gaussian, and log-Gaussian) distributions of the intrinsic time interval $\Delta t_{\rm intr}$ between adjacent bursts. By randomly choosing observational time intervals following a uniform distribution, we find that regardless of the $\Delta t_{\rm intr}$ distribution, the observed $\Delta t$ distribution essentially follows the $\Delta t_{\rm intr}$ distribution if the number of observational windows is large enough. As an example, we show in Fig.\ref{fig:Delta-t} the simulated $\Delta t$ distribution (red) against a log-Gaussian $\Delta t_{\rm intr}$ distribution (black), with the number of observations comparable to that for FRB 121102.  We therefore use the $\Delta t$ data of FRB 121102 to derive the $\Delta t_{\rm intr}$ distribution of FRBs in general (assuming that they are similar to each other).

\begin{figure
	\epsscale{1}
	\plotone{f1.eps}
	\caption{The simulated $\Delta t$ distribution (red) compared with the input $\Delta t_{\rm intr}$ distribution with a log-Gaussian distribution.}

	\label{fig:Delta-t}
\end{figure}

For FRB 121102,
the first burst was discovered in the PALFA survey at 1.4 GHz \citep{Spitler2014}. Later an extensive follow-up observation using Arecibo resulted in the detection of 10 more bursts \citep{Spitler2016}. Another six bursts from this source were later detected and published: five from Green Bank telescope (GBT) at 2.0 GHz and one at 1.4 GHz with the Arecibo Observatory (AO). Later, 14 more bursts from FRB121102 were detected and published: ten from GBT at 2.0 GHz and four from AO at 1.4 GHz \citep{Scholz2017}. In our analysis, we include a total of 40 bursts based on the published data, even though by now $> 140$ bursts from this source have been detected, but are not published yet (L. Spitler, 2017, talk presented at the Aspen FRB conference, {http://aspen17.phys.wvu.edu/Spitler.pdf}). Including all $>140$ bursts in our analysis will only strengthen the conclusion of this paper.

Bursts from this source are irregular and clustered in time
\citep{Scholz2016}. The total telescope time spent on FRB121102 was over 177 hours for the observations of the 40 bursts. Among the 40 bursts, six bursts were found within a 10 min of observing period, and four were detected in a 20-min observing window \citep{Scholz2016}. Recently, \cite{Scholz2017} reported two bursts that are 0.038 seconds apart. The total observing time is spread over telescopes with different sensitivities, and the observations were done in a range of radio frequencies. For completeness, we include all the bursts regardless of the observing telescope and frequency\footnote{Ignoring repeating bursts detected by telescopes other than Arecibo would introduce a bias of the repeating duty cycle of the source. It would be more appropriate to include all the available information in this analysis, even though the data are not uniform. An attempt of removing the non-uniformity of the data is presented below in Section \ref{sec:Parkes}.}. The observed time intervals $\Delta t$ are calculated for each pair of adjacent bursts defined by the sequence numbers $i$ and $i+1$\footnote{The definition of the burst number is arbitrary. Given two adjacent bursts defined, one can derive $S_i/S_{i+1}$ and $\Delta t$. When a higher detection threshold is defined (e.g. for Parkes-threshold bursts only, see Sect. \ref{sec:Parkes}), the burst numbers are re-ordered, and $S_i/S_{i+1}$ and $\Delta t$ are re-defined.}. Table \ref{tab:observing time_repeator} presents $\Delta t$ of all adjacent pairs of the bursts, which are also presented in Figure \ref{fig:FRB_TS1}.

Other FRBs (detected by Parkes and GBT) have been extensively followed up on a variety range of timescales, {most with dozens of hours of observing times (Table \ref{tab:observing time} and references therein)}. No additional bursts have been detected. We include all the observing times {\em after} the detection of the original burst and define it as the lower limit of $\Delta t$ for the bursts whose flux reaches the flux threshold. The data are shown in Table \ref{tab:observing time} and presented in Figure \ref{fig:FRB_TS1}.

\begin{figure
	\epsscale{1}
	\plotone{f2a.eps}
	\plotone{f2b.eps}
	\caption{(a) The raw $\Delta t$ - $S_{i}/S_{i+1}$ distribution plot of the repeater (orange stars) and other non-repeating FRBs (black points with right and upper arrows). For other FRBs, based on non-detections, only lower limits of $\Delta t$ and $S_i/S_{i+1}$ are presented, which are indicated as the regions above the horizontal dashed line or to the right of the vertical dashed line of each FRB. FRB110220 and FRB140514 are both presented separately (assuming that they are related) and jointly (assuming they are from the same source, purple square). (b) The same plot but with individual FRBs identified. The histograms of $\log \Delta t$ and $\log (S_i/S_{i+1})$ distributions are plotted along with the best-fit distributions that are used in later Monte Carlo simulations.}

	\label{fig:FRB_TS1}
\end{figure}

The flux ratio is defined as $S_i/S_{i+1}$, where $S_{i}$ and $S_{i+1}$ are the peak fluxes of $i$-th and $(i+1)$-th burst. It is greater/less than one if the next FRB is fainter/brighter.  The peak fluxes and pulse widths for each burst from FRB 121102 are different. For completeness, we include all the bursts to define $ S_{i}/S_{i+1}$, most of which were detected at 1.4 GHz, but some of which were detected at 2 GHz. They are presented in Figure \ref{fig:FRB_TS1}.

For other FRBs, since no repeating bursts have been detected, any possible burst during the observation time frame, if any, must have a peak flux that is faint enough to evade detection.  {For these FRBs, we can only plot the lower limit of $S_i/S_{i+1}$, which is simply $S_1/S_{th}$, where $S_{th}$ is the $10\sigma$ detection flux with respect the receiver noise level. Such a threshold has been widely adopted to claim the detection of an FRB. The values of $S_1/S_{th}$ are adopted as the lower limit of $S_i/S_{i+1}$ as shown in Table \ref{tab:observing time}.}

The raw $\Delta t - S_{i}/S_{i+1}$ plot is shown in Figure \ref{fig:FRB_TS1}a. The orange stars denote the repeating bursts from FRB 121102, while for other bursts, the allowed regions are above the horizontal line and to the right of the vertical line for each burst (as denoted by the right and upper arrows). One can immediately see that some bursts from the repeating FRB 121102 are located in the region (lower left region) in the $\Delta t - S_{i}/S_{i+1}$ plane that is excluded by the data of other FRBs. Compared with other FRBs, for the repeater the time intervals between bursts are much shorter, and the flux ratios are smaller, some of them being even less than unity (suggesting that the later burst is brighter than the earlier one).

Assuming that FRB 110220 and FRB 140514 belong to the same source, as argued by \cite{Piro2017}, we plot another point (purple square) based on the detected values. This point sits between the region of FRB 121102 and the region of other FRBs. On the other hand, the non-detection of other bursts following FRB 140514 again places the second point of the source to the region of other FRBs.

\begin{deluxetable}{cccccc}\label{tab:table1}
		\tablecaption{\small{The observational information of the 40 bursts detected from the repeater FRB 121102. Column 1 gives the burst number, column 2 gives the receiver and telescope name, column 3 gives the observed time interval $\Delta t$ between the burst $i$ and $i+1$, column 4 gives the peak flux density for each burst, column 5 gives the flux ratio $S_i/S_{i+1}$, and column 6 gives the references.} \label{tab:observing time_repeator}}
		\tabletypesize{\scriptsize}
	\tablehead{
		\colhead{Burst } &
		\colhead{Telescope/}  & \colhead{$\Delta t $} &  \colhead{Peak } & Flux Ratio &  Ref\\
		\colhead{Number} & \colhead{Receiver} &   \colhead{(s)} & \colhead{ Flux (Jy)}  & \colhead{($S_{i}/S_{i+1}$)}
	}
	\startdata
	1		&	AO/ALFA	&	128		&		0.04	&		0.00 & [1,2] \\
	2		&	AO/ALFA	&	11694	&		0.03	&		1.33 & [2,3]\\
	3		&	AO/ALFA	&	512		&		0.03	&		1.00 & [2,3]\\
	4		&	AO/ALFA	&	1444	&		0.04	&		0.75 & [2,3]\\
	5		&	AO/ALFA	&	569		&		0.02	&		2.00 & [2,3]\\
	6		&	AO/ALFA	&	419		&		0.02	&		1.00 & [2,3]\\
	7		&	AO/ALFA	&	23		&		0.14	&		0.142 & [2,3]\\
	8		&	AO/ALFA	&	58		&		0.05	&		2.80  & [2,3]\\
	9		&	AO/ALFA	&	186		&		0.05	&		1.00 & [2,3]\\
	10		&	AO/ALFA	&	169		&		0.05	&		1.00 & [2,3]\\
	11		&	AO/ALFA	&	58		&		0.31	&		0.16 & [2,3]\\
	12		&	GBT/S-band	&22400	&		0.04	&		7.75  & [3]\\
	13		&	GBT/S-band	&28033	&		0.06	&		0.66 & [3]\\
	14		&	GBT/S-band	&414	&		0.04	&		1.50 & [3]\\
	15		&	GBT/S-band	&442	&		0.02	&		2.00  & [3]\\
	16		&	GBT/S-band	&416	&		0.09	&		0.22 & [3]\\
	17		&	AO/L-WIDE	&53871	&		0.03	&		3.00  & [2,3]\\
	18      &   VLA/3GHz    &302382  &      0.12    &        0.25  & [4,5]\\
	19      &    VLA/3GHz   & 10543  &      0.67    &        0.18  & [4,5] \\
	20      &    VLA/3GHz   & 1321   &      0.027   &        24.81 & [4,5] \\
	21      &    VLA/3GHz   & 6556   &      0.063   &        0.43  & [4,5] \\
	22      &    VLA/3GHz   & 28736  &      0.328   &        0.19  & [4,5]\\
	23      &    VLA/3GHz   & 11701  &      0.039   &        8.41  & [4,5] \\
	24      &    VLA/3GHz   & 8185   &      0.050   &        0.78  & [4,5] \\
	25      &    GBT/S-band & 6049   &      0.36    &        0.14  & [6] \\
	26      &    GBT/S-band  &0.038  &         0.08  &          4.5 & [6]  \\
	27      &    VLA/3GHz    &28143  &         0.086 &         0.93  & [4,5]\\
	28      &    GBT/S-band    &2292   &         0.36  &          0.24 & [6]  \\
	29      &    GBT/S-band    &3836   &         0.29  &          1.24  & [6] \\
	30      &    VLA/3GHz    &10500  &         0.158 &          1.83   & [6] \\
	31      &    GBT/S-band    &77653  &         0.17  &          0.92  & [6]  \\
	32      &    GBT/S-band    &1319   &         0.38  &          0.44  & [6]  \\
	33      &    GBT/S-band    &367    &        0.20   &         1.9    & [6]  \\
	34      &    GBT/S-band    &2745   &         0.09  &          2.22  & [6]  \\
	35      &    GBT/S-band    &1723   &         0.56  &          0.16   & [6]\\
	36      &    GBT/S-band    &1358   &         0.11  &          5.09   & [6] \\
	37      &    AO/1.4GHz     &7636   &         0.09  &          1.22   & [6] \\
	38      &    AO/1.4GHz      &678    &         0.02  &          4.5    & [6] \\
	39      &    AO/1.4GHz      &1045   &         0.02  &          1.0    & [6] \\
	40      &    AO/1.4GHz      &1949   &         0.03   &         0.66   & [6] \\
	\enddata
	\tablecomments{[1] \cite{Spitler2014}; [2] \cite{Spitler2016}; [3] \cite{Scholz2016}; [4] \cite{Chatterjee2017}; [5] \cite{Law2017}: [6] \cite{Scholz2017}}
\end{deluxetable}

\begin{deluxetable}{cccc}\label{tab:table2}
        \tablecaption{The follow-up observation information of other FRBs that do not show repeating bursts, including the total number of observation hours and the lower limit of $S_i/S_{i+1}$, which is defined by $S_1/S_{th}$.
\label{tab:observing time}}
        \tablehead{
                \colhead{FRB Name} &
                \colhead{Total hours} & \colhead{Flux Ratio} & \colhead{Reference} \\
                \colhead{(yymmdd)} & \colhead{(hours)} & \colhead{$S_{i}/S_{i+1}$}
        }

        \startdata
FRB010621 &  15.5  & $>$  1.63 &  [6,11]  \\
FRB010724 &  40  & $>$  2.30 &  [7]  \\
FRB090625 &  33.65  & $>$  3.00 & [1,3]  \\
FRB110220 &  1.75  & $>$  4.90 &  [1,2]  \\
FRB110523 &  6.6  & $>$  4.20 &  [15]  \\
FRB110626 &  11.25  & $>$  1.10 &  [1,2]  \\
FRB110703 &  10.1  & $>$  1.60 &  [1,2]  \\
FRB120127 &  5.5  & $>$  1.10 &  [1,2]  \\
FRB121002 &  10.25  & $>$  1.60 &  [1,3]  \\
FRB130626 &  9.5  & $>$  2.10 & [1,3]  \\
FRB130628 &  9.0  & $>$  2.90 &  [1,3]  \\
FRB130729 &  10  & $>$  1.40 &  [1,3]  \\
FRB131104 &  78  & $>$  3.00 &  [8]  \\
FRB140514 &  19.2  & $>$  1.60 &  [4]  \\
FRB150215 &  17.5  & $>$  1.90 &  [14]  \\
FRB150418 &  13.0  & $>$  3.90 &  [9]  \\
FRB150807 &  215  & $>$  5.00 & [10]  \\
FRB160317 &  30.0  & $>$  1.30 & [12]  \\
FRB160410 &  30.0  & $>$  1.30 & [12]  \\
FRB160608 &  30.0  & $>$  1.20 & [12]  \\
FRB170107 &  26.1  & $>$  1.60 &  [13]  \\
        \enddata
        \tablenotetext{}{$\dagger$ - Follow up hours are not published}
        \tablecomments{[1]\cite{Petroff2015}; [2]\cite{thor2013} [3] \cite{cham2016} [4] \cite{Pet2015} [5] \cite{Bruke2014} [6] \cite{Keane2012} [7]\cite{lorimer2007} [8] \cite{Ravi2015} [9] \cite{Keane2016} [10]\cite{Ravi2016}  [11] \cite{Bannister2014} [12] \cite{Caleb2017} [13] \cite{Bannister2017} [14] \cite{Petroff2017}}
\end{deluxetable}

\subsection{Correcting to the sensitivity limit of Parkes}\label{sec:Parkes}

Since Arecibo is more sensitive than Parkes, a more rigorous treatment of the repeating FRB 121102 should include only those bursts that are above the Parkes sensitivity threshold for a fair comparison with the results of other FRBs.

The peak flux densities (for pulse widths ranging from $1.28$ - $8.192$ ms using a signal-to-noise ratio of 10.0) of Parkes FRBs are in the range  $0.11$ - $0.28$ Jy. Out of the 40 repeating bursts from FRB 121102, ten bursts (burst numbers 7, 11, 19, 22, 25, 28, 30, 32, 33, 35) would have been above the Parkes S/N cutoff limit at 1.4 GHz.
For example, both bursts 7 and 11 were originally detected by Arecibo within a 10 min observation window \citep{Spitler2016}.
Bursts 8, 9, and 10 would not be detected (for a flat spectrum) by Parkes, we therefore pretend that they were not detected and redefine $\Delta t$ and $S_i/S_{i+1}$ and plot the points in Figure \ref{fig:ts2}. Out of the 15 bursts detected by GBT at 2 GHz, five of them (number 25, 28, 32, 33, 35) would have been detected by Parkes for a flat spectrum\footnote{Burst numbers 19, 22, 33 where detected by Very Large Array at 3 GHz, and would be also detected by Parkes for a flat spectrum. The spectral indices of the repeating bursts of FRB 121102 vary significantly from burst to burst \citep{Spitler2016}, so it is hard to reliably extrapolate the fluxes from 2GHz (GBT) and 3 GHz (VLA) to 1.4 GHz. In any case, for indicative purposes we assume a flat spectrum for all the bursts and include all the bursts detected by GBT and VLA in our analysis. Introducing more precise spectral indices would modify some data points presented in Figs. \ref{fig:FRB_TS1} and \ref{fig:ts2}, but would not change the conclusion of this paper.}. The results are presented in Figure \ref{fig:ts2}.

Ten bursts can define nine points in Figure \ref{fig:ts2}. One can see that although most of the points still fall in the regime allowed by the non-detection limits of other FRBs, two points lie in the lower-left corner of the plot, a region excluded by the non-detection data of other FRBs. Since the total observing hours of other FRBs are usually long (two of them, FRB131104 and FRB150807, each has follow-up hours more than 70 hours), at least some repeating bursts should have been detected if all other FRBs are similar to FRB 121102. The non-detection of any repeating bursts from any of those FRBs therefore suggests that FRB 121102 is likely not representative of the FRB population.

\begin{figure
	\epsscale{1}
	\plotone{f3.eps}
	\caption{The $\Delta t - S_i/S_{i+1}$  plot after only selecting bursts detectable with the Parkes telescope and at 1.4 GHz. The repeater has ten bursts above the Parkes threshold.}
	\label{fig:ts2}
\end{figure}

\subsection{Monte Carlo simulations}

In order to quantify the probability of non-detection any burst if all other FRBs are similar to FRB 121102,
we perform Monte Carlo simulations of typical repeating FRBs based on the $\Delta t$ and
$S_i/S_{i+1}$ distributions as observed in FRB 121102.
The distributions are presented as the histograms in the upper and right panels of Figure \ref{fig:FRB_TS1}b.
They are fitted with logarithmic Gaussian distributions with Cash statistics \citep{Cash1979}.
The best fits are presented as solid curves overlapping with the histograms, with median values and standard deviations labelled.

There were hundreds of pointings on FRB 121102.
The intervals between these pointings (in units of seconds) generally follow a logarithmic Gaussian distribution,
with a median value 4.9 and standard deviation 0.9.
Each pointing has a duration from hundreds to tens of thousands of seconds,
with the logarithmic median value 3.6 and standard deviation 0.4.
Following these realistic observational properties,
we simulate 500 pointings with logarithmic Gaussian distributed durations and intervals.
Tens of bursts are ``detected'',
and their observed time intervals follow what was observed.

In order to test whether other non-repeating FRBs are similar to FRB 121102, we simulate other FRBs with the same
$\Delta t$ and $S_i/S_{i+1}$ distributions as FRB 121102.
Non-repeating FRBs were typically observed for tens of hours.
We simulate the observational intervals and durations of these FRBs similar to FRB 121102, and keep the
total observational time as the true observational time of each FRB. We notice that the flux range of FRB 121102 is by a factor $0.67/0.02 \sim 34$. We therefore require that the simulated fluxes of other bursts from the non-repeating FRBs have a flux distribution by a factor of 40. One important parameter to perform the simulations is the normalization of the flux distribution. We consider two cases for the flux distribution: {\em Case I:} The flux range is (0.05 - 2) times of the detected flux. This assumes that the detected burst belongs to one of the brightest among the bursts, which is possible due to the observational selection effect (brighter ones are easier to detect). Notice that this is the most conservative case in terms of detecting repeating bursts, since most  other bursts are fainter than this one and more likely to be below the sensitivity threshold. {\em Case II:} This possibility assumes that the detected burst is a  normal one, so that the flux range is (0.16 - 6.3) times of the detected flux.

Based on the detected flux of each FRB, we randomly choose $S_i/S_{i+1}$ and $\Delta t$ from their respective distributions. We check whether the resultant flux is within the defined flux range. If so, we move to simulate next burst. If not, we discard the $S_{i}/S_{i+1}$ value and draw another one. We repeat the process until the simulated flux is within the pre-defined flux range. This simulation effectively takes into account the flux distribution of FRB 121102. Indeed, after simulations of multiple bursts, our simulated burst flux distribution is consistent with the flux distribution of FRB 121102 (aside from the difference in the normalization factor).

For each non-repeating FRB, we simulate the source based on the above procedure for a duration of the total observing time scale for the source. For each burst that is generated from the simulation, we compare it with the flux sensitivity threshold based on the S/N of the detected burst and the relative flux between the simulated burst and the initial detected burst. Only those bursts that are detectable by Parkes are kept.

We focus on the most conservative Case I. Figure \ref{fig:3} upper panel shows one realization of the simulations, which is the histogram of the detected burst number besides the already detected one. One can see that for this realization, even though most sources (14 altogether) are consistent with having zero detected bursts (consistent with observations), other 7 sources all have extra detected bursts. One source even has 8 detectable bursts. This is inconsistent with the observations.

To quantify the probability of non-detection of any repeating burst from all 21 non-repeating FRBs, we perform 10,000 simulations and draw the probability distribution of the expected detectable bursts from all 21 sources. This is shown in the black histogram in Figure \ref{fig:3} lower panel. One can see the most probable case is to have 7 bursts detected from these sources. The probability of having no detection is $p \sim 1.2\times 10^{-3}$. If one considers the less conservative normalization (Case II) by assuming that the detected bursts are typical for FRBs, the peak distribution of the detectable bursts shifts to 9 (blue dotted histogram), and the non-detection probability is dropped to $p \sim  8.9 \times 10^{-5}$.

We therefore conclude that the assumption that all FRBs are similar to FRB 121102 has a very low probability to be consistent with the data.  There is strong evidence of more than one population of FRBs.

\begin{figure
	\plotone{f4a.eps}
	\plotone{f4b.eps}
	\caption{{\em Upper panel:} One realization of the simulation to show the histogram of number of bursts detectable bursts for the 21 FRB sources. {\em Lower panel:} The distributions of the total number of the detectable bursts after 10,000 simulations for Case I (black solid) and Case II (blue dotted), respectively. The corresponding non-detection probabilities are also marked.}
	\label{fig:3}
\end{figure}

\section{Conclusions and discussion}

Using the published data, we compare the repeating FRB 121102 and other FRBs in the $\Delta t - (S_i/S_{i+1})$ plane. We find that some bursts of the repeater are well separated from other FRBs in the plane. In particular, they occupy a region that has a much smaller duty cycle and a smaller flux ratio than other bursts. The conclusion remains valid if one only chooses the bursts that are detectable with the Parkes radio telescope. Dozens of hours of telescope time have been spent on the follow-up observations of other FRBs, yet none of them have been observed to repeat. Our Monte Carlo simulations suggest that the probability of non-detection of any burst in the 21 FRB sources is $\sim (10^{-4}-10^{-3})$. We therefore draw the conclusion that the repeating FRB 121102 is not representative of the entire FRB population, and that more than one population of FRBs is needed to account for the current data.

Since only the published data are used to perform this study, our conclusion is very conservative. Many more bursts have been detected from the repeating FRB 121102 (L. Spitler, 2017, http://aspen17.phys.wvu.edu/Spitler.pdf), and many more hours have been spent on other FRBs without a detection of repeating FRBs. This suggests that FRB 121102 and other FRBs should be even more separated in the $\Delta t - (S_i/S_{i+1})$ plane, which further strengthens our conclusion.

One possibility is that the unusually active behavior of FRB 121102 is a result of a special amplification effect. For example, some propagation effects, such as scintillation-induced intermittency or plasma lensing \citep[e.g.][]{cordes97,cordes17}, may play a role of facilitating the detections of the bursts from FRB 121102, since its Galactic latitude is relatively low. Even though such a possibility is plausible, we notice that if other FRBs have a similar $S_i/S_{i+1}$ distribution as FRB 121102, still more than one burst should have been detected even if they were not amplified. This may be seen by artificially raising the detecting threshold for the FRB 121102 bursts (e.g. Fig. \ref{fig:ts2}).
We therefore suggest that the propagation effect cannot explain the dichotomy of the repeating behaviors of FRB 121102 and other FRBs.

The difference between FRB 121102 and other repeating FRBs is likely physical. One may consider two possibilities. First, maybe all FRBs share the same progenitor system, but FRB 121102 is unusually active in terms of producing repeating bursts. Within the spindown and magnetic powered models \citep[e.g.][]{Cordes2016,Connor2016,katz16,Metzger2017,Kashi2017,Cao2017,ZZ17}, a more active central engine should correspond to a younger age. According to this picture, other FRBs should have older ages than the repeater. However, the essentially zero evolution of DM for the repeater \citep{Spitler2016,Scholz2016} places a lower limit on the age of the putative supernova remnant associated with the pulsar \citep[e.g.][]{Metzger2017,Yang2017}. This is in apparent conflict with the putative FRB 110220/140514 association \citep{Piro2017}, which has a much more rapid DM evolution but less frequent bursts.

A more likely possibility is that there are more than one population of FRBs. The repeating FRB 121102 has a distinct progenitor system than (at least some of) other FRBs. The current data already showed strong evidence of such a possibility. It is possible that (at least some of) other FRBs are produced in catastrophic events so that they are intrinsically non-repeating FRBs. Blitzars \citep{FR2014, Zhang2014} and merger of compact stars \citep{Tot2013, Kashi2013, Zhang2016, wang16} remain attractive candidate progenitors for these non-repeating FRBs. A future coincident detection of an FRB with a catastrophic event (e.g. a gravitational wave chirp signal) would unambiguously establish such a non-repeating FRB population.

\acknowledgments
We thank an anonymous referee for very helpful suggestions. This work is partially supported by NASA through grants NNX15AK85G and NNX14AF85G to UNLV.

redpajama_set_name: RedPajamaArXiv


The upcoming Apple iPad Pro 2018 has been leaked with full specifications and detailed renders. The iPad Pro is expected to launch in a 12.9 inch and a smaller 10.5 inch variant at the upcoming Apple Launch Event.
From the very first glance we can see that the iPad Pro 2018 is starkly different form its earlier variants. We can see the lack of a home button, a sharper design and thin, uniform bezels around the device.
The absence of a home button could hint at the fact that the device is getting a true depth camera and Face ID. Other than this, the lack of a headphone jack is also noted on these renders. The charging port is at the bottom middle of the device. However, this is right below the Smart Connector, which is placed on the back.
The Smart Connector is used to pair the iPad Pro with a keyboard to increase usability. The move to shift the Smart Connector to the bottom could be because of the fact that Face ID does not work horizontally. Therefore, the new iPad Pro might be used vertically, even for typing.
Two variants, the 12.9 inch and 10.5 inch iPad Pro are expected this year. However, it is reported that neither of them will have an OLED, rather they will have an LCD panel.
The iPad Pro 2018 is also reported to run on the new A12X chipset. According to rumours, the A12X is going to be made using the 7nm technology which boosts performance and increased battery life. However, the devices are expected to have 4 GB of RAM, with varying storage variants going up to 512 GB.
The new iPad Pro will continue to offer Apple Pencil support, according to reports. The slimmer bezels will mean that the iPad Pro 2018 will be smaller in size, despite the same screen size as its predecessor.
The iPad Pro 12.9 2018 is expected to be launched at Apple's annual Keynote event. The event will be held on 12th September. Reports place the 10.5 inch variant to start at Rs 54,999 and the 12.9 inch variant to start at Rs 64,999.