5 Reasons to Choose Milaap for Your Campaign: With many NGOs, associations both public and private in place, why should you choose Milaap to connect with the world and start your campaign? Well, there are many reasons but we here list a few to tell you why Milaap is the most trusted choice.
How to Put Up the Right Poster: Posters or flyers are an incredible marketing tool. As they say, traditional ways never go out of style- flyers, posters, and pamphlets have always proved to be a worthy source of getting everyone's attention.
Tips & Tricks for A Successful Fundraiser: A fundraiser is a project or a venture of raising money from a large number of people who each contribute a relatively small amount typically via the Internet to support a cause. We share with you from our experience some tips to make your fundraiser a successful one.
Tips and Tricks for Sharing You Milaap Campaign: Once you have constructed your campaign online, the next step is to reach possible donors. We believe that the most unexpected people from the most unexpected places turn into donors.To make your campaign a success there are many things that you can do and here we list down some tips for you.
How to Get Local Media to Cover Your Campaign: You never know what good your story can do to the society as a whole. It can compel, inspire, create awareness and restore faith. Let hesitation take a back seat, believe in yourself and reach out to the media.
5 Tips to Connect Better with Your Donors: For anyone who starts a campaign is it fundraising for a new school, raising aid for the needy or for helping the affected due to a natural calamity; the main motive is to drive more and more donors to contribute and join with your campaign.At Milaap, while we help towards driving traffic towards your campaign, there are many other steps that you can take to make your campaign a successful one.


Overwatch Online! Shooter Of War-FPS! Battle it against friends and real opponents in War Overwatch. Kill the zombies and other players with different sniper and gunshots to stop the tsunami of evils. Participated in a real overwatch battle of Gunner FPS Shooter.


text:
Grand incendie de La Nouvelle-Orléans (1788)
 Grand incendie de La Nouvelle-Orléans (1794)

redpajama_set_name: RedPajamaWikipedia


text:
Virologist says the number of hospitalisations is rising in Flanders
At Monday morning's National Crisis Centre press conference the virologist Steven Van Gucht said that if the number of new hospital admissions of patients with COVID-19 continues to stagnate we will soon reach a point at which the number of patients that are hospitalised with the virus will start to stagnate too, both generally and on intensive care wards. Professor Van Gucht also pointed to regional differences in the hospitalisation figures. In Flanders the number of people with COVID-19 that are being hospitalised is rising, while it continues to fall in Brussels and in Wallonia.
Mon 14 Dec 2020 12:48
The virologist added that the number of people testing positive for the virus is increasing (+8%) in Flanders. The increase is greatest in East and West Flanders. Meanwhile, the number of positive test results continues to fall in Wallonia and Brussels, albeit at a slower rate than had been the case.
The rise in the number of positive tests is greatest (+21%) among children under the age of 10. In absolute figures the number people testing positive is highest among people in their 20's, 30's and 40's.
Most people are sticking to the rules
The National Crisis Centre's Yves Stevens told the press conference that the vast majority of the population is following the measures that have been introduced to curb the spread of COVID-19. This is why we were we able to bend the coronavirus curve relatively quickly. However, the curve has flattened out at a level that is still too high. There are still too many people testing positive, too many people with the virus requiring hospital treatment and too many deaths.
Yves Stevens called on of us to keep up our efforts during the forthcoming Christmas celebration. "A peak is fine at the top of a Christmas tree, but we absolutely must avoid a new peak in the corona curve. A lot of people have the habit of spending Christmas at the seaside or in the Ardennes. They can, but the rules on social contacts apply to the whole of Belgium. Please respect them".
Brussels Region looking for 350 staff for vaccination centres
Valeria Mongelli / Hans Lucas
Fall in number of hospital admissions grinding to a halt
Corona vaccine: high risk patients identified
"The jab will get us out!"

redpajama_set_name: RedPajamaCommonCrawl


The main objective of case retrieval is to scan and to map the most similar old cases in case base with a new problem. Beside accurateness, the time taken to retrieve case is also important. With the increasing number of cases in case base, the retrieval task is becoming more challenging where faster retrieval time and good accuracy are the main aim. Traditionally, sequential indexing method has been applied to search for possible cases in case base. This technique worked fast when the number of cases is small but requires more time to retrieve when the number of data in case base grows. As an alternative, this paper presents the integration of hashing indexing technique in case retrieval to mine large cases and speed up the retrieval time. Hashing indexing searches a record by determining the index using only an entry�s search key without traversing all records. To test the proposed method, real data namely Timah Tasoh Dam operational dataset, which is temporal in nature that represents the historical hydrological data of daily Timah Tasoh dam operation in Perlis, Malaysia ranging from year 1997-2005, was chosen as experiment. Then, the hashing indexing performance is compared with sequential method in term of retrieval time and accuracy. The finding indicates that hashing indexing is more accurate and faster than sequential approach in retrieving cases. Besides that, the combination of hashing search key x produces better result compared to single search key.
1 I. Jurisica, and J.I. Glasgow. �Applications of case-based reasoning in molecular biology�.AI Magazine, American Association for Artificial Intelligence, vol. 25(1), pp. 85-95, 2004.
2 R. Schmid, and L. Gleri. �Case-based Reasoning for Medical Knowledge-based Systems�.International Journal of Medical Informatics, vol. 64, pp. 355, 2000.
3 Yang, Z., Matsumura, Y., Kuwata, S., Kusuoka, H., and Takeda, H. �Similar Cases Retrieval From the Database of Laboratory Test Results�. Journal of medical systems (J.med. syst.), vol 27, pp. 271-282, 2003.
5 P. Rong, Q.Yang, and J.P. Sinno. �Mining Competent Case Bases for Case-Based Reasoning�. Journal Artificial Intelligence, vol. 171, 2007.
6 D.O. Sullivan, E. McLoughlin, B. Michela, and D.C. Wilson. �Capturing and reusing casebased context for image retrieval,� In Proc. of the 19th International Joint Conference on Artificial Intelligence, 2005.
7 M.Emilia, N. Mosley, and C. Steve. �The Application of Case-Based Reasoning to Early Web Project Cost Estimation,� In Proc. of the 26 the Annual International Computer Software and Applications Conference (COMPSAC�02), 2002.
8 K.S. Leen, and B. Todd. �Integrating Case-Based Reasoning and Meta-Learning for a SelfImproving Intelligent Tutoring System�. International Journal of Artificial Intelligence in Education table of contents archive, vol. 18(1):27-58, 2008.
9 C.K.P. Wong. �Web access path prediction using fuzzy-cased based reasoning, Phd Thesis, Hong Kong Polytechnic University, Hong Kong, 2003.
10 J.M. Corchodo and B. Lees. �Adaption of cases for case-base forcasting with neural network support,� in Soft computing in case based reasoning, 1st ed., vol.1. S.K.Pal, S.D.Tharam, and D.S. Yeung, ed. London: Springer-Verlag, 2001, 293-320.
11 K.S. Shin and I.Han. �Case-based reasoning supported by genetic algorithm for corporate bond rating�. Expert system with application, vol. 1266, pg.1-12. 1997.
12 H. Hamza, Y. Belaid, and A. Belaid. �A case-based reasoning approach for unknown class Invoice Processing,� in Proc. of the IEEE International Conference on Image Processing,(ICIP), 2007, pp. 353-356.
13 K.P. Sankar and K.S. Simon. Foundation of Soft Case-Based Reasoning, John Willey & Sons Inc, 2004, pp. 1-32.
14 F. M. Carrano, and W. Savitch. Data Structures and Abstractions with Java. USA: Pearson Education, 2003.
15 M. Griebel and G. Zumbusch. �Hash-Storage Techniques for Adaptive Multilevel Solvers and Their Domain Decomposition Parallelization�. In Proc. of Domain Decomposition Methods 10 (DD10), 1998.
16 X. He, D. Cai, H. Liu, and W. Ma. �Locality Preserving Indexing for Document Representation,� in Proc. of the 27th conference on research and development in information retrieval, 2004.
17 E. Armengol, S. Ontanon, and E. Plaza. �Explaining Similarity in CBR�. Artificial Intelligence Review. vol. 24(2), 2004.
18 W. D. Maurer, and T.G. Lewis. �Hash Table Methods�. ACM Computing Surveys (CSUR),vol 1, pp. 5-19, 1975.
19 N.M. Darus, Y. Yusof, H. Mohd, and F. Baharom. �Struktur data dan algoritma menggunakan java�. Selangor, Malaysia: Pearson Prentice Hall, vol. 1, 2003.


Is Roseanne Barr Really Worse Than Pedo Comedy?
Is Trump Now The Goblin Tamer?
EMERGENCY: Infowars Banned From The Internet!
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SANTIAGO, CHILE - Ivanhoe Mines (TSX: IVN; OTCQX: IVPAF) announced today that Executive Co-Chairman Robert Friedland will be giving a keynote presentation at the 18th CRU World Copper Conference in Santiago, Chile, on April 9, 2019 at 11:30am local time.
The World Copper Conference attracts more than 500 delegates and is one of the most important gatherings in the mining industry.
Mr. Friedland will provide updates on the rapid progress being made in the mine development of the Kamoa-Kakula Copper Project in the Democratic Republic of Congo (DRC), a joint venture between Ivanhoe, Zijin Mining Group and the DRC government, and Ivanhoe's ongoing exploration initiatives to discover additional thick, near-surface, ultra-high-grade copper in the Kamoa North and adjacent Western Foreland areas.
Mr. Friedland's presentation will mark the 10th anniversary of the unveiling of the Kamoa Copper Discovery made by Ivanhoe's geological team, details of which he revealed to attendees of the 2009 CRU World Copper Conference.
"Ten years ago, I told delegates at this conference that we had made a 'major copper discovery of historic importance' at our Kamoa Project," said Mr. Friedland. "Today, I am proud to say that the combined Kamoa and Kakula discoveries now rank as the world's fourth-largest copper deposit, with copper grades that are the highest, by a wide margin, of the world's top 10 copper deposits. And, our team of talented geologists and geoscientists continue to make new, high-grade discoveries to further expand the project's copper resources.
"Now, with the help of our joint-venture partner, Zijin Mining, and our strategic shareholder, CITIC Metal, Kamoa-Kakula is on track to become one of the world's greatest copper mining complexes, with projected, peak annual copper production expected to exceed 700,000 tonnes."
Ivanhoe has prepared a current, independent, NI 43-101-compliant technical report for the Kamoa-Kakula Project titled "Kamoa-Kakula 2019 Integrated Development Plan" dated March 18, 2019. Detailed information about assay methods and data verification measures used to support the scientific and technical information is set out in the Kamoa-Kakula Technical Report, which is available under Technical Reports at www.ivanhoemines.com and on Ivanhoe Mines' SEDAR profile at www.sedar.com.


Comfortable Pillow for Side Sleeper plays a crucial role in one's life and it's an essential factor ensures one's health. Without enough sleep, nobody will have enough energy as well as concentration on completing and working tasks. After a long and tiring day, your body consumes a big amount of energy and it should be provided with additional energy for great function. Drinking and eating food aren't enough to compensate energy loss, it's important for people to get a good sleep so that the body can recover soon after coping with tiredness and exhaustion.
With such situations, sleeping on just one side becomes the most effective and ultimate way to ensure and overcome a good sleep for everybody. Yet, this position causes another unhopeful problem that's when you wake up, you frequently feel painful and strained because your body is kept in a particular position with rare change. Thus, you have to find the best pillow to sleep on. Aside from having a good and high-quality mattress, looking for the most comfortable pillow for side sleeper will not just help you a good night's sleep and protects you from pain.
Why You Should Find the Best Pillow to Sleep On?
If you're a side sleeper and you've been using the wrong type of pillows, it's better to rethink your options. Tons of people are suffering from crimps in particular body areas upon waking up. The main reason behind it is that the sleeping position that you're used to, yet instead the kind of pillow that you use comes into play.
Having the most comfortable pillow for side sleeper is necessary for adjusting your position so that your weight is distributed evenly and that your body isn't suspended in an abnormal bending. The space between the outer shoulder and ear is essential for side sleepers because that's supposed to be the space in which pillows occupy. You have to keep your spine straight and it's the reason why firmer pillows work best.
Without the Comfortable Pillow for Side Sleeper to sleep on, you'll probably end up experiencing pain. Since the body and neck aren't positioned well, it is expected that once you wake up, there would be that feeling of numbness and heaviness that'll be felt. So, invest in the best and right pillow type for side sleepers.


An exciting gluten free snack, accompaniment or vegetarian dinner; these sweet and sticky halloumi skewers with chilli are utterly moreish and perfect for the BBQ.
Soak some wooden skewers in water for about 15 minutes so that they don't burn when on the BBQ or in the pan.
Slice the block of halloumi long ways into thick fingers, then insert the skewer lengthways through the cheese.
Drizzle with olive oil and sprinkle with the chilli flakes and freshly cracked black pepper. Once the cheese starts the melt, the cheese will take on the flavours.
Pop straight into a hot and dry pan, or onto the BBQ for 5 minutes before turning and colouring the other side also.
Serve with a refreshing greek yoghurt to dip into and get stuck in!


Experience the sacrifice of Jesus Christ in a brand new way through a 5-senses Good Friday experience on Friday, April 19. The Spirit & Life Band will be leading in Good Friday themed worship. At the same time there will be several Good Friday themed prayer stations that will incorporate the five senses. The prayer stations will be self-led and self-paced. You are invited to join us at any time between 6:30 and 8:30 and stay as long as you want.
The location for this special event is 3890 B Cameron St. Dumfries in the Upper Room.


We usually receive the material to be translated (or sample of it) by email for estimation and price quote. We always reply to our clients within 24 hours with the quote needed covering the timeframe, total cost and any other issues that we may need to discuss about the material to be translated.
Once we get a confirmation on the quote, we take care of the material as a new job having a unique number to identify it all over the work cycle. Then, the job is assigned to the available translator according to the field of expertise. All our translators are qualified native speakers of the target language.
After finishing the translation process, the job is to be given to an editor to make sure that it is done properly as requested by the client. Then, the job is assigned to a proofreader to make sure the target language is free of any typos or spelling and grammar mistakes.
If needed, DTPers take care of the final layout and delivering the work in the required format.


The fastest, most accurate FREE roofing estimates.
An associate will arrive with a guaranteed accurate aerial measurement of your roof. The time spent with you will be focused on the problem, resolutions, your budget and other mattters, not climbing around your roof for measurements.
Have you ever called and the estimator never showed up? Or showed up 4 hours late and you were stuck waiting all that time when you had other things to do? Sure you have, because it happens all the time, whether for the cable company or a repairman, the service industry is filled with stories of no-shows and late-shows. We'll be there at the appointment time unless there are extenuating circumstances ( all roads closed!) and if that happens, we'll give you a call so you're not waiting.
The most common complaint about leaking roof repairs is repairing the same problem again.
As part of our process we identify the obvious problem(s), and the underlying issue(s) that caused it. It seems simple, but most companies don't properly identify the underlying issue that caused the leak. Avoid overspending, reoccuring leaks and other problems with a 40 point inspection by an independent third party at project completion.
If your house is typical, its roof is covered with pre-2010 manufactured asphalt shingles. The shingles usually needed to be replaced every 15 or 20 years. Temperature extremes and sunlight crack, curl, and split the shingles. Rain and sleet wear them down. Wind tears them. With newer materials, proper installation, and the right roofing system you can extend the life of a roof to LIFETIME WARRANTY- NEVER PAY FOR REPAIRS AGAIN!
We start with a 40 point inspection. This report is essential for helping you understand the depth of the problem and estimating your project. Why did your roof leak to begin with? One of the biggest reasons why roof repairs fail is that the leak was fixed but the underlying cause was not.
Do I need a new roof or a repair?
Our expert team will help you evaluate your options based on the report and your budget. Our businesss is built on referrals and we promise not to sell you something you don't need.
You can select from many materials, from wood shakes to clay tile to slate. But by far the most practical choice, accounting for nearly two-thirds of all re-roofing in the U.S., is asphalt shingles.
Although homeowners may select the type of roofing, they usually leave the brand to the roofer, and that may be unwise. Even experienced roofers are apt to judge quality by two seemingly sensible but not always reliable criteria: weight and warranty.
Warranties on asphalt shingles typically run from about 20 to 40 years, but that's not as generous as it may seem. Generally, the warranty covers both materials and labor only for the first year. After that, the cost of labor may be excluded, and the cost of the shingles is prorated, sharply reducing the warranty's payback over the years. Some warranties are transferable, a consideration if you're planning to sell, or buy, the house. But some manufacturers charge a transfer fee or reduce the coverage sharply. Many won't transfer the warranty at all. Check when you choose a brand.
Schantz Home Improvement Company is a GAF Certified Master Elite Roofer. This qualifies us to offer a non-prorated 50 year materials AND labor warranty.
Contact our sales department for samples and onsite consultation.
Get a shingle roof replacement price quote direct from contractor. Schantz Home Improvement makes your Atlanta GA home new again with vinyl siding, replacement windows and other home improvements.
I am completely satisfied. All promises were met.
Schantz Home Improvement Company Located at 1530 Howell Mill Rd NW, Atlanta, GA. Phone: 404-522-4663. Schantz Home Improvement Company.


Your goal is to maximize your score while completing your puzzle.
Select two identical tiles to remove them from the play field. Remove all tiles to complete the game.
To select a tile, the tile must have either its right or left side completely open and there cannot be any tiles on top of it, or even partially on top of it.


There are aspects of our lives, to some degree, we do not have control over. When our car decides to break down… other people make decisions that negatively affect us… traffic… the weather… just to name a few. We do, however, have control of our reactions to and thoughts about all of our experiences.
Negative thoughts can acquire power very quickly if we allow them.
Regardless of whether you gravitate toward the "glass half full" or "glass half empty," in the moment, it is sometimes challenging to see the silver lining. All of us experience moments of self-pity, but hopefully those moments are fleeting.
Obviously establishing yourself as a victim, to circumstances or other people, is unhealthy. Just as damaging to emotional health is self-depreciating, demotivating and/or accusatory thoughts. Pessimistic thoughts, such as why-me, I'm too fat/short/tall, I'll never accomplish this, wreak havoc on emotional health, and importantly shape our future.
Negative thoughts can acquire power very quickly if we allow them. Our society presents numerous opportunities to self-sabotage, feel less-than, or compete with the acquisition lists of others. If we give negative thoughts power, they alter our outlook and inhibit our ability to experience the joy and happiness we all deserve.
1. Remember you are powerful. Humans, [tend to] conform to external environments. We are not our professions… our feelings… our circumstances. We are far greater, far superior, far more important, and far more mysterious than our conceptual mind tries to define, for this is why we are more powerful [than we believe].
2. Choose to embrace life. Try to live in the moment… whether it presents an obstacle or an opportunity. Do not sweat the small stuff; instead focus on what is really important to you. Time stands still for no one. Once we realize we are not guaranteed infinite time, we can make any necessary changes that allow us to live fully in each moment. We can use the china… wear the special shoes or tie… seize the moment… do things that make us feel exceptional.
3. You control your reactions. While we cannot control the uncontrollable, we can control our reactions. Stop the tendency to rush a reaction. Take a moment to shift your mindset.
4. Journey well. Life is a journey so let's be content with where we are,and make decisions to support our values. When we stay true to who we are, others' opinions and zings are less likely to sting. When we stay the course of what we truly believe, it is more difficult to shake a sturdy foundation.
5. No one is better qualified. We tend to hold other people's opinions of us higher than our own opinion of ourselves. This act removes our personal power. We know ourselves better than anyone and need to embrace our value. Never let another person's opinion of you affect what you believe about yourself.
We have a choice: think positive thoughts, model optimism, and forgive those who do not.
This entry was posted on Tuesday, September 8th, 2015 at 6:51 pm. Both comments and pings are currently closed.


text:
New in iOS 5: Save and Read Webpages Later with Reader
Alex Heath on June 9, 2011
In iOS 5, Apple has taken services like Instapaper and Read It Later head-on with a new feature called "Reader." Like the similar feature that has existed in Safari on the Mac, Reader for iOS 5 will strip a webpage in Mobile Safari of unneeded images and ads for a more enjoyable reading experience.
Articles can also be saved for reading later on any iDevice that's set up with your iCloud account. Bookmarking is a thing of the past.
When you tap the Reader icon in Mobile Safari's address bar, web pages will be converted to look like this:
If you use Instapaper or Read It Later, you'll see the striking resemblance. Will the other, third party solutions for this type of service become obsolete when consumers start using Reader in iOS 5?
The developer of Instapaper, Marco Arment, doesn't think so,
"If Reading List gets widely adopted and millions of people start saving pages for later reading, a portion of those people will be interested in upgrading to a dedicated, deluxe app and service to serve their needs better. And they'll quickly find Instapaper in the App Store.
So I'm tentatively optimistic. Our world changes quickly, especially on the cutting edge, and I really don't know what's going to happen. (Nobody does.) But the more potential scenarios I consider, the more likely it seems that Safari's Reading List is either going to have no noticeable effect on Instapaper, or it will improve sales dramatically. Time will tell."
I absolutely love Instapaper, and while Reader does look nice, it won't be replacing my Instapaper habits at all. The main downfall to Reader is that it's restricted to one browser. I work in multiple browsers, not just Safari, and Instapaper is useful for me because it goes with me across all of the browsers and platforms I use.
What about you? Does Reader look like a service you'll use?
Web App Performance in iOS 5 Greatly Improved
iPhone 4S and Nokia Lumia 800 Browser Performance Benchmarked [Video]
Save Web Pages For Offline Viewing With 'WebOffline'


text:
Sonic X Next Episode Air Date
Home / All TV Shows / Sonic X
Sonic X next episode air date poster
When will be Sonic X next episode air date? Is Sonic X renewed or cancelled? Where to countdown Sonic X air dates? Is Sonic X worth watching?
In true fashion to the many Sonic the Hedgehog games, Sonic X features the Sonic gang racing to collect the powerful Chaos Emeralds before the powerful Dr. Eggman does.
Genres: Animation General | Children
Station: FOX (AJ)
CountdownSeason 3Season 2Season 1
Sonic X Season 3 Air Dates
S03E01 - The Cosmic Call Air Date: 10 September 2005 13:00 -
S03E02 - Cosmic Crisis Air Date: 17 September 2005 13:00 -
S03E03 - H2Whoa Air Date: 24 September 2005 13:00 -
S03E04 - An Enemy In Need Air Date: 01 October 2005 13:00 -
S03E05 - A Chilling Discovery Air Date: 08 October 2005 13:00 -
S03E06 - Desperately Seeking Sonic Air Date: 15 October 2005 13:00 -
S03E07 - Galactic Gumshoes Air Date: 22 October 2005 13:00 -
S03E08 - Trick Sand Air Date: 29 October 2005 13:00 -
S03E09 - Ship of Doom Air Date: 05 November 2005 14:00 -
S03E10 - An Underground Odyssey Air Date: 12 November 2005 14:00 -
S03E11 - Station Break-In Air Date: 19 November 2005 14:00 -
S03E12 - A Metarex Melee Air Date: 26 November 2005 14:00 -
S03E13 - Mission: Match-Up Air Date: 03 December 2005 14:00 -
S03E14 - Clash in the Cloister Air Date: 04 February 2006 14:00 -
S03E15 - Teasing Time Air Date: 11 February 2006 14:00 -
S03E16 - A Revolutionary Tale Air Date: 18 February 2006 14:00 -
S03E17 - The Planet of Misfortune Air Date: 25 February 2006 14:00 -
S03E18 - Terror on the Typhoon Air Date: 04 March 2006 14:00 -
S03E19 - Hedgehog Hunt Air Date: 11 March 2006 14:00 -
S03E20 - Zelkova Strikes Back Air Date: 18 March 2006 14:00 -
S03E21 - The Cosmo Conspiracy Air Date: 01 April 2006 14:00 -
S03E22 - Eye Spy Air Date: 08 April 2006 13:00 -
S03E23 - Angel of Mischief Air Date: 15 April 2006 13:00 -
S03E24 - The Light in the Darkness Air Date: 22 April 2006 13:00 -
S03E25 - A Fearless Friend Air Date: 29 April 2006 13:00 -
S03E26 - So Long Sonic Air Date: 06 May 2006 13:00 -
Sonic X next episode air date provides TVMaze for you.
Next Episode of Sonic X is
EpisoDate.com is your TV show guide to Countdown Sonic X Episode Air Dates and to stay in touch with Sonic X next episode Air Date and your others favorite TV Shows. Add the shows you like to a "Watchlist" and let the site take it from there.


Abstract: Slide attacks use pairs of encryption operations which are slid against each other. Slide with a twist attacks are more sophisticated variants of slide attacks which slide an encryption operation against a decryption operation. Designed by Biryukov and Wagner in 2000, these attacks were used against several cryptosystems, including DESX, the Even-Mansour construction, and Feistel structures with four-round self-similarity. They were further extended in 2012 to the mirror slidex framework, which was used to attack the 20-round GOST block cipher and several additional variants of the Even-Mansour construction. In this paper, we revisit all the previously published applications of these techniques and show that in almost all cases, the same or better results can be achieved by a simpler attack which is based on the seemingly unrelated idea of exploiting internal fixed points. The observation that such fixed points can be useful in cryptanalysis of block ciphers is known for decades and is the basis of the reflection attack presented by Kara in 2007. However, all the examples to which reflection attacks were applied were based on particular constructions such as Feistel structures or GOST key schedules in which it was easy to explicitly list and count the fixed points.
In this paper, we generalize Kara's reflection attack by using the combinatorial result that random involutions on 2^n values are expected to have a surprisingly large number of O(2^n/2) fixed points (whereas random permutations are expected to have only O(1) fixed points). This makes it possible to reduce the complexity of the best known attack on additional cryptographic schemes in which it is difficult to explicitly characterize and count the internal fixed points.


text:
Q: Dynamically Loading Class Into Interface I'm trying to dynamically load a class, from a dll, at run time then cast it as in interface.
I have a class define in a dll called MyClass.dll like below.
namespace MyClass
{
    public class Class1 : IMyInterface
    {
        public int MyNumber { get; set; } = 6;

        public int GetMyNumber()
        {
            return MyNumber;
        }
    }
}

Then, i have an interface defined in a shared dll like below:
namespace Common
{
    public interface IMyInterface
    {
        int MyNumber { get; set; }

        int GetMyNumber();
    }
}

Finally, i have my code attempted to load the assembly and assign it as a IMyInterface.
private void Form1_Load(object sender, EventArgs e)
        {
            string fName = @"D:\Development\Research\Dynamic Load\MyClass\bin\Debug\MyClass.dll";

            Assembly decoupledAssembly = Assembly.LoadFrom(fName);
            if (decoupledAssembly != null)  //All Good
            {
                Type t = decoupledAssembly.GetType("MyClass.Class1");
                //Good here too, it finds it just fine.
                IMyInterface mi = (Activator.CreateInstance(t) as IMyInterface);
                //Now i'm screwed screwed.
                if (mi != null)
                    MessageBox.Show(mi.GetMyNumber().ToString());
            }
        }

You can see in the comments where it is breaking.  I find the type, no problem, but returns null when I attempted to cast it as my interface.
Thanks in advance for your help.

A: You have to reference the full path to the interface.  Strange, but once I did this it started working.  See the changes below.
namespace MyClass
{
    public class Class1 : Common.IMyInterface
    {
        public int MyNumber { get; set; } = 6;

        public int GetMyNumber()
        {
            return MyNumber;
        }
    }
}

private void Form1_Load(object sender, EventArgs e)
        {
            string fName = @".....\MyClass.dll";

            Assembly decoupledAssembly = Assembly.LoadFrom(fName);
            if (decoupledAssembly != null)  //All Good
            {
                Type t = decoupledAssembly.GetType("MyClass.Class1");
                //Good here too, it finds it just fine.
                Common.IMyInterface mi = (Activator.CreateInstance(t) as Common.IMyInterface);
                //Now it works.
                if (mi != null)
                    MessageBox.Show(mi.GetMyNumber().ToString());
            }
        }

redpajama_set_name: RedPajamaStackExchange


View Multan result year 2018 from all educational boards.
Multan Board checks the papers and assigns the task of checking of papers of HSSC class to the senior teachers of Multan Board soon after finishing of the practical papers of Inter class. BISE Multan Board prepares and issues Multan Board HSSC-I result during the last week of July. The students can also find the Multan Board FA/FSc-II result 2018 in the first week of August. The candidates are asked to check the Multan Board Inter-II result 2018 on this page with relevant information. The candidates can check the BISE Multan Intermediate-I result 2018 with complete information and detail of marks in all subjects.
You can check BISE Multan Board Inter result 2018 online at www.result.pk here.


text:
Zero safety rating for popular tradies' van
Sue Hewitt
Australia's crash safety watchdog has awarded its first ever zero-star safety rating.
A newly released van popular with tradies and commercial fleet owners is the first vehicle to score a zero-star safety rating from Australia's principal crash-testing body.
The Mitsubishi Express received a zero rating from the Australasian New Car Assessment Program (ANCAP) due to a lack of basic safety features and systems such as autonomous emergency braking and lane-support systems, now common in new vehicles.
ANCAP says this is the first time it has given a zero-star rating to a vehicle in its 28-year history of crash testing.
The result will rule out the van for fleet and commercial buyers who demand vehicles with five-star safety ratings, ANCAP says.
ANCAP tests about 95 per cent of all new cars sold in Australia, awarding each a safety rating from zero to five, based on rigorous assessments across four key areas – adult-occupant protection, child-occupant protection, vulnerable road-user protection and safety assist. A change in testing protocols in 2020 means vehicles tested in the past 12 months have been assessed to a stricter standard.
Mitsubishi withdrew the Express van from the Australian market in 2013 but released a new model in 2020 after joining Renault and Nissan in an alliance to rebadge cars. The Express is a reworking of the 2015 Renault Trafic van, and it was tested to ANCAP's strict 2020 standards.
ANCAP's chief executive, Carla Hoorweg, says the specifications of the recently released Express do not align with today's safety expectations.
"Unfortunately, we saw below-par performance for protection of occupants and vulnerable road users from the Express, with results lowered even further due to a fundamental lack of active safety systems."
She says the vehicle's poor result sends a clear message to vehicle manufacturers and their global parent companies that safety must be a priority.
"Safety rating criteria and consumer expectations have evolved, as have manufacturers' desire and ability to introduce improved levels of safety," she says.
"We know Mitsubishi can deliver vehicles with high levels of overall safety and a wide range of modern safety technologies and we encourage them to accelerate the introduction of these features into their van product."
A Mitsubishi spokesperson says the Express was designed in line with 2015 standards but acknowledged there has been "significant movement in the application of driver-assistance technologies since that time".
"The Express meets all Australian Design Rules (ADR) standards for vans, and the results of the crash testing by ANCAP indicates a good level of adult-occupant protection overall," they said.
Mitsubishi says that compared with competitor vehicles designed around the same time – 2014/15 – the Express "holds a competitive position in terms of [European New Car Assessment Program] NCAP rating. "It holds a three-star (2015) rating in Europe; ANCAP did not report NCAP's earlier rating."
RACV's senior engineer – vehicles, Nicholas Platt, says RACV is disappointed to learn ANCAP has released its first zero-star rating for the Mitsubishi Express van.
"RACV agrees with ANCAP that Mitsubishi must do better to meet consumer expectations and calls on the company to urgently incorporate better safety features into the van," he says.
In its report on the Express, ANCAP says the van failed to score a single safety-rating star because of the lack of active safety systems.
"Autonomous emergency braking and lane-support systems – safety features which are routinely fitted to almost all vehicles assessed in recent years – are not offered on the Mitsubishi Express, resulting in a Safety Assist score of just seven per cent," it says. "Scores for adult-occupant protection and vulnerable road user protection were also low."
"There is no chest-protecting side airbag fitted on the passenger side, nor is [there] a centre airbag fitted for protection in side crashes," it says. "A frontal airbag for the centre passenger seating position is also not offered."
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text:
Widow No Longer A "Terrorist", May Avoid Deportation – Canadian Immigration News
November 2, 2013 by Matthew Watt
A Supreme Court decision appears to indicate that a Sri Lankan woman will avoid deportation due to ties to a terrorist organization. Sugunanayake Joseph is the widow of Sri Lankan parliamentarian Joseph Pararajasingham, who was assassinated on Christmas Eve in 2005 while attending mass in Batticaloa. After the attack, Canadian immigration officials granted Ms. Joseph a temporary visitor's visa. She has lived in Canada ever since, with her son and daughter who are both Canadian citizens.
The operative Supreme Court case involved Rachidi Ekanza Ekozola, a Congolese diplomat who had been denied a request for refugee status. When that case came before the Supreme Court, the justices determined that the new test for a member of a terrorist group should be whether an individual contributed to terrorist acts, rather than simply being complicit in their commission.
Sugunanayake Joseph's husband was part of a faction of Parliament known as the Tamil National Alliance (TNA), who were proponents of a separatist movement but also advocated for peace and human rights. Canadian immigration authorities viewed the alliance as a political arm of the Tamil Tigers, a recognized terrorist organization whose aim is to secede from Sri Lanka.
Ms. Joseph was facing deportation from Canada after the Immigration and Refugee Board (IRB) made the determination the TNA was a "proxy" for the Tamil Tigers. It concluded that Ms. Joseph's attendance of certain meetings with her husband, as well as her working as his secretary, indicated support for his political activities. During Ms. Joseph's Pre-Removal Risk Assessment, the Judge made judicial notice of a Supreme Court's decision redefining membership in a terrorist organization. Based on that ruling, Judge O'Reilly said, Ms. Joseph would be unlikely to be found to be a member of a terrorist organization.
What will come of Ms. Joseph's deportation proceedings remains to be seen, but it is clear the new definition of membership in a terrorist group may lower the threshold for those seeking entry into Canada.
Many potential avenues of Canadian immigration exist, ranging from programs based on familial relations to requests for political asylum. Generally speaking, those seeking political asylum must demonstrate a fear of persecution or an immediate need of protection. Determinations of eligibility for political asylum can be extremely fact-specific, particularly when an individual's circumstances are not part of a larger situation or conflict. Fortunately, there are also many other avenues through which a person can immigrate to Canada.
To determine which Canadian immigration program is right for you, contact First Immigration Law Firm – Canadian Immigration Law Firm today at 1 (855) 360-4333 from North America or internationally at 1 (514) 360-4333.


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play 00:00:00 / 00:12:35
canvas cinematic
So I'm gonna talk this evening about the four projects that I did, that I premiered, performed in as a dancer, between 2008 and 2010. And I'm gonna ask myself four questions about each of the pieces and I will tell you those questions as I ask them.
The first question that I ask myself is: What senses do I use the most in this performance? And when I talk about senses, I'm talking about the five senses that, the basic…
And that, but also about synaesthesia, about senses that emerge from combinations of experience. I stretch the meaning of the word a bit.
The second question I ask myself is: How does the socio-economic, cultural, political ecosystem of this piece relate to its surrounding socio-eco-culti-political environment? So the inner workings to the outer workings.
The third question I ask myself is: If the environment of this piece were determined by my senses, what would it be? What would it look like?
And the last question is: If my body is a product of the senses I use in this performance, what would my body look like? What would I be?
The first piece I'm gonna talk about is the… I do this chronologically, the first one is the first one.
This piece by ZOO & Thomas Hauert, called Accords. There are eight people in the piece, and there is a backdrop with slits in it, that we come in and out of. And there is some waiting in the piece for… listening while the other people are performing, you can't see them.
The sense that I remember most strongly, especially in those situations, is of musicality. This sense of following music.
But in fact, in the actual dancing of the piece, you have to be very careful with your own musicality, because the piece is based on improvised unison. So you're always being led or following someone else. And even though we studied the music together, you never know really what someone else is hearing and you have to able to drop that musicality very fast.
Duet with Samantha.
And this is the one section of the piece where the unison is driven from the side, mostly.
And there's the sense of tangible space, of space that has… the space between the bodies being full. Between my body and hers. And texture somehow.
Sam would always say: 'It's — not too pretty this time, Chrysa.' Here's the (…).
I think, a sort by-product sense of this piece was a sense of my own aging, my body doing that thing.
I actually, I eventually left the piece, because I felt that there was a potential for virtuosity, physical (…), and I've never been particularly (…), but especially not going that direction now.
Because you're always following the person in front of you, there is the feeling that the front part of the body is sticking to another person and that the back part of the body is pulling the back part, the back, the back part, your back of the body, the back surface, the sides is pulling.
Also a sense of character. Because I knew these people very well and I had a feeling of who was doing what and what they were somehow thinking or feeling.
In terms of the kunsty-politic of this piece… During the course, well, after the premiere actually, shortly after the premiere the funding that ZOO had had for a long time was cut to the point that we knew we wouldn't be able to work the way that we had been working. And I had decided to leave anyway. Martin was going. So there were big changes coming. But this, the thing about the…
The change of support… I think that there was an effect on the performance, somehow we felt that the… What we had thought was understood as valuable in what we were doing, was less understood than we had thought.
And it just… I think it affected us in that suddenly our principles became very important, and sort of holding to the integrity of the material and the processes was even more… we were self-consciously urgent about those principles.
The environment that the piece would be if my senses determined it, it's kind of like a big, black Frisbee. A really big, just… moving… Or like a, like one of those electron spinners or something, but not so scary. Very dark inside and with some light sort of coming through.
And my body… I have the feeling, because the front body was so affected… I don't…
The front of the body is like magnetic filings that just take up whatever form is imposed on them. And the back of the body is kind of like tar, with hair, or like maybe food or drool stuck in it. And sometimes the back tar kind of slips around to the front and the filings get stuck in it.
So the next piece that I premiered was with Mette Ingvartsen, called Giant City.
Mette introduced the loops to me a little bit, a practice she has been working on a long time. And she showed me the principles. I learned them from imitating her. And then I joined the group.
Transforming loops, I think you've heard a lot about it maybe [earlier this evening].
So for me, the strongest or most remarkable sense experience - I think because it was new to me - was that I had to work a lot with the sense of duration. Because the…
Although there is a lot of rhythm in the loops themselves, the rhythm changes and then time changes, and it's very hard to keep track of numbers or amounts. So you kind of have you think in longer periods, longer arcs of time.
A strong sense of tangible space. A sort of by-product of this piece was that what had been something that kind of happened since (…) when I was working, became something that I could almost click on and off, in terms of feeling space… feeling that I was moved by space, or that space was moving me.
Also the touch, both the imaginary touch and the touch within the body, a sense of texture and tone. You had to keep track of what, of where the tension was moving.
There is a very sort of subtle and unreliable sense in a way of character or gesture, that you sort of pass through and you recognize that you're in. You're in some thing that could be an imaginary relationship but you can't really stay there because the loop transforms.
So maybe it's more a sense of transformation of a single character.
I often had the feeling that my body was very big and filled out the whole space. (…) Or someone else's would come to me, they never really met in the middle for some reason.
So, the environment of the piece in relation to the socio-political, cultural kind of environment… larger environment.
One of the things that I felt was that, because Mette is a young artist who's produced a lot of work and did a lot of by-products also from her work, there is a kind of romanticism and scepticism that people approach the work with.
Asking themselves: Is this the right direction? Should I go this way? Who? What's the thing? What's this person got that I don't have? Or that I need or… Which I think happens, you know, in general. I think particularly with younger artists.
And interestingly - let's talk about her while she's here… that's the job, that's what I'm doing.
I don't feel that Mette is building a vertical structure, and so that feeling never really entered into the group, that feeling that there is a momentum that goes up. It's more lateral.
It's more like some kind of problem in another place that we know about but don't really need to deal with. Like dead bodies in another city or something. Just hope it doesn't come too close.
The environment is quite thick, liquid. Also with sort of floating walls, that somehow, every once in a while interrupt.
The audience is on all four sides. So often - I think this is why, I'm not sure why - often it would happen that they would start to move with you, and you had to be very careful not to get caught in their rhythm, or they would fuck the loop up, holding you there too much.
So this feeling that sometimes the viscosity of the space would spill out into the audience and surface, hit them.
And then, there is also, and I think it has to do with the kinaesthetic, that people would get involved in the physicality and fall asleep.
So you had those two kinds of sleepers. People who are watching really hard and they're trying to stay awake and then just… that sort of awful, hard sleep, that really grumpy sleeping.
And then there's other people, they're watching and they go with and then just… That's absolutely… for you it's a very physical experience to be close to people who are sleeping while my attention was so high. And really looking at them, I could see them through the light…
A very heavy feeling.
Quite warm.
Duration.
The form my senses give my body sound like a bag of snow or leaves that sometimes gets packed on one side or in one area.
Throws forward. And then can also kind of heat up and vaporize.
The next piece I did also premiered in 2009, called Dog Heart, with Jonathan Burrows. And it was a duet.
Jonathan had made several duets with this man, Matteo Fargion. And besides the many other differences between me and Matteo…
In performance, the sort of most startling to me - but you know, think of these things - for me the most startling distinction was that suddenly I felt very feminine, which really had nothing to do with the process or the content of the piece, but… suddenly became significant in performance.
And also like a dancer, I felt like a dancer. Matteo is a musician.
One of the things about this piece, I think, that is somehow interesting, is that Jonathan and I really set out to make something that was not about itself. That was our intention.
So we used text, and we used images that we drew, from drawings that hung up. And there was a table and two chairs. Two microphones. Nothing in the piece is memorised except for the movement material.
So I will be checking my notes.
So the senses that I used the most, because this femininity thing came up… A sense of rhythm, but not exactly rhythmic rhythm, more like time, divided time… this changed a lot.
A sense of history, of my own history, of working with people that… I worked with someone in New York for a long time, very different but a similar thing to Jonathan in terms of the use of material, as being just something that drives structure.
So, you know, the care that you take as a dancer of the material was really very personal. And in terms of the piece, it had to be precise, but the content of the material was really secondary. So inside this dance, there is another dance going on that you're making.
Or you're living out.
I have a lot of pleasure in that sort of meaninglessness of the material. I really like it.
The smaller environment to larger environment in this piece. Jonathan lives upstairs from me, and when I can't see him, when I'm in my apartment, I can hear him. And we also live across from De Walvis, so we know where all the 'kunsties' are.
And I think that's quite significant. For Jonathan there is the particular thing of having privacy, but feeling connected.
We were quite well supported in this piece. But I never had any sense of thinking about where that money was coming from, or why, or what was going on. It seemed really irrelevant for me. Although I think Jonathan thinks about that from the inside.
He's here, I'm here. Usually it's the other way.
In terms of the environment that the piece and my senses create within this piece. It's like a boat.
Ah, I'm doing this wrong, yeah, well, it doesn't matter…
Like a boat, where everything is made of wood and glue and string. It's kind of creaky and tight. Secret compartments.
And there is a feeling of… passing through continents, drifting by… (…) passing by them, feeling the currents. And the winds bring smells by, something familiar.
I felt like one of those overbred hunting dogs, who doesn't really hunt anymore. Not super-bright, but with training in its genes, and very happy to use that when it doesn't get overexcited by other things.
So the next piece that I did was with Rosas, Anne Teresa De Keersmaeker. And the piece is called En Atendant. There's eleven people in the piece, eight dancers and three musicians. And there are a lot of people around the work that are very integrated into the work: the rehearsal director, the production manager and the technicians, they're also very involved.
I had known Anne Teresa's work for a long time. But it's — her work is not really part of my history in a way that it is for Europeans, I think…
One of the things for me with her in particular, was again this sense of femininity, a kind of iconic femininity.
And it's a little bit difficult for me to relate to that level of femininity without irony, because of my background. And I knew that that was inappropriate or actually dull in this situation. So I had to kind of figure out a way to embed that in the material and I was given room to do that.
A very strong sense of phy, physi, phys, ph, ph, ph… physical empathy to the music. To singing in particular. As if the voice, as my friend Becky says, her "thing" was in my body.
Also by night…
The sense of space is less about volume and more about direction. Less about touch, somehow. More about flying, that feeling of going far.
And we used a lot of… we studied the period, the 14th century.
So there were a lot of historical characters that became fictional characters within the piece. I was a fat but charming fifteen-year-old German princess, married to Charles VI who went insane.
Mikael [Marklund] was a fountain.
But in performance, these experiences of the fiction of things has eventually become blended with a sense of inclusion, trying to include the whole space, all the people, including the audience, because we can see them, also, especially the first five rows.
The kunsty-politic of this piece. It is a very new experience for me, to be in such a large, elaborated structure. I had the feeling I had been invited to ride like a dinosaur. Big body, small head. Rare. Lots of predators. Really almost extinct.
This is the ironic part. A bit trashy.
The environment feels like a big fish tank. Janet [Panetta] says all my images are watery. Not true. With things like stories, people, music floating through, occasionaly coming close to you, passing by.
There's a lot of waiting in this piece. Part of the piece.
Watching at people.
This is Mark [Lorimer].
In terms of my own body, what my senses create of me…
There's a few things. One is that my… this is too (…).
In the process - which I told myself I wouldn't speak about, but I just want to say something - I realized that the directions that Anne Teresa gave us to consider to make a phrase with, felt like ballet to me.
I don't really remember the original phrase here but… This is nine. One, two, three, four, five, six,… I think I have a kind of naive relation to these directions, because what I hear from other people is much more elaborated. What I realized is that for me there is this one, two, three, four, five, six, seven, eight, nine.
Again my pleasure in feeling those directions was antidoted by my irony in relation to those cultural structures and the history of my own body of those materials.
Time was moving forward, to clean up. I'm watching Sue-Yeon [Youn] and Cynthia [Loemij].
Because of this sense of totality or inclusion, the body that seems to be coming up more and more is mine…
But in a strange way, because at the same time that I feel myself more and more vividly in the piece - this is the piece that I performed the most of all these pieces and the most recently, and will continue to do.
Also, I observe my body aging. There are certain things that I see like, there is this nice thing when I'm lifted by Bostjan [Antoncic]. His face is very close to me, there is the colour of the skin that comes up. And I see these kind of faults in the crook of my elbow. And just the texture is different. You know, it's not the same material. It's this thing happening with gravity.
But you know, I think, initially, it repulsed me. Like when you're an adolescent and you… something is just happening. And now, I don't feel so repulsed, but it's (…). It's significant. And you know, it's so often in my arms. Because, you know, I can't really see all this so much.
So my experience is that my body is my body, but it's looking for a place to land. Some kind of, like a dislocation and then… location and then… push off or return.
That's it. Thank you very much.
Oralsite (about)
Chrysa Parkinson
walk + talk 18 - Kaaistudio's Brussels, 18 March 2011
This page is part of walk + talk documents.
Chrysa Parkinson is an American dancer based in Brussels, who has performed with Rosas, ZOO, Jonathan Burrows and Mette Ingvartsen amongst others.
Oral site works best with a recent version of Firefox. Download the last version. We'd love to hear from you. Feel free to contact us at info@sarma.be if you have troubles or want to report bugs.


text:
Book > Academic Books > Mass Communication
Media Performance
Mass Communication and the Public Interest
Denis McQuail - University of Amsterdam, Netherlands
Evaluation (General) | Mass Communication (General)
May 1992 | 368 pages | SAGE Publications Ltd
This major text by the author of Mass Communication Theory offers a comprehensive analysis of the growing field of assessment and evaluation of the performance of mass media. Across different societies, with varying media systems, there is evidence of increasing concern with the nature and quality of media output as well as about the independence and diversity of media systems. In this broad-ranging overview, Denis McQuail outlines the varying means of media performance assessment which have been attempted. He analyzes the central questions of what the `public interest' means in this context, which criteria are relevant for assessing media performance, how such values are established and how they can be reconciled with the economic, industrial and audience market contexts.
Both encapsulating a major area of recent debate and research, and advancing it to a new level, this book will be essential reading for students of media and communication studies and for those actively involved with media policy and practice.
PART ONE: MASS COMMUNICATION AND SOCIETY
Public Communication and Public Interest
Contested Territory
Traditions of Enquiry
The `Public Interest' in Communication
PART TWO: MEDIA PERFORMANCE NORMS
Performance Norms in Media Policy Discourse
The Newspaper Press
A Framework of Principle for Media Assessment
PART THREE: RESEARCH MODELS AND METHODS
Media Organizational Performance
Models and Research Options
PART FOUR: MEDIA FREEDOM
Concepts and Models of Media Freedom
From Structure to Performance
The Organizational Environment
PART FIVE: DIVERSITY
Varieties and Processes of Diversity
Taking the Measure of Diversity
Media Reflection
Media Access and Audience Choice
PART SIX: OBJECTIVITY
Concepts of Objectivity
A Framework for Objectivity Research
Measuring Objectivity
News as Information
The Evaluative Dimension of News
PART SEVEN: MASS MEDIA, ORDER AND SOCIAL CONTROL
Media and the Maintenance of Public Order
Policing the Symbolic Environment
Solidarity and Social Identity
PART EIGHT: MEDIA AND CULTURE
Questions of Culture and Mass Communication
Cultural Identity and Autonomy
Whose Media Culture?
PART NINE: IN CONCLUSION
Changing Media, Changing Mores
Implications for Assessment
`McQuail's book offers a review of the field of the assessment and evaluation of media performance...the author discusses the issue of `public interest' and attempts to relate it to the measurement of media performance. The relationship between these is the main contribution of this book. Many studies focused on these concepts but McQuail provides a first thorough attempt to relate them within a framework of communication theory and research' - International Journal of Public Opinion Research
`Denis McQuail's latest book, Media Performance, provides an important and much needed addition to the communications literature. This comprehensive and critically astute text details how print and electronic media policy and performance impact on individuals, groups and the very structure of democratic societies' - Majorie Ferguson, University of Maryland at College Park
`This far-reaching and important study from a long-time critical observer of the media scene takes in developments in many countries and suggests new frameworks for assessing media in the 1990s.... Important and recommended for good communications collections - this will be widely used and widely cited' - Choice
`When a short list of the most important books on communication media in the last half of the twentieth century is drawn up at some future date, I would not be surprised to see Denis McQuail's Media Performance at the top. While others use bloated language and fanciful impressions to talk about `media performance', McQuail, one of the world's leading media sociologists and all-around scholars, provides a powerful and integrative analysis. There is something orchestral about Media Performance in the way that it draws the best soundings from our literature, presents a cohesive and coherent theory, and offers a rich agenda for research.... the most intellectually satisfying book about the media in decades.' - Everette E Dennis, Columbia University
Media Analysis Techniques
Careers in Media and Communication


text:
Rare McDonald's Monopoly Game Pieces
HGTV & Scripps
Contests Basics
Is Your McDonald's Monopoly Game Piece a Winner?
••• Image (c) Tim Boyle / Getty Images.
By Sandra Grauschopf
If you're looking for rare game pieces for the 2018 McDonald's Monopoly game, this page will be updated when the new giveaway begins.
When you buy participating products at McDonald's between March 29th and April 25, 2016, you'll have the chance to win thousands of prizes ranging from a million dollars cash to free food from the 2016 McDonald's Monopoly Collect-and-Win Game. (You can also play without purchase by mail).
If you're lucky enough to get a rare game piece from the collect-and-win game, you're all but assured of winning a prize.
Each set of Monopoly properties, which is made up of two to four individual "locations," has a single rare game piece; the other game pieces are common. The common pieces are a dime a dozen. If you have that rare game piece, you're set to win (don't fall for McDonald's Monopoly Trading Piece Scams!).
You don't want to accidentally throw away one of those rare game pieces. Each year, the collect-and-win prizes include a million dollars cash along with other fun prizes like cash, Super Bowl vacations, rides in a Cessna, free vacations, free gas, and more.
So before you trash any of your McDonald's Monopoly game pieces, be sure to check this list to find out if they are rare. If they are, prepare to celebrate!
Which McDonald's Monopoly Sweepstakes Codes Are Rare in 2016?
Here is the list of rare McDonald's Monopoly game pieces for 2016, along with their colors, odds of finding them, and the prizes you could win:
BROWN: Mediterranean Avenue (#601) and Baltic Avenue (#602). 4,500 prizes of $50 cash will be awarded. Mediterranean Avenue is rare, with odds of finding it at 1 in 114,132. The odds of finding Baltic Avenue are 1 in 11.
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YELLOW: Atlantic Avenue (#615), Ventnor Avenue (#616), and Marvin Gardens (#617). Five prizes of $5,000 cash will be awarded. Ventnor Avenue is rare, with odds of 1 in 102,718,344. The common pieces, Atlantic Avenue and Marvin Gardens, each has 1 in 10 odds.
GREEN: Pacific Avenue (#618), North Carolina Avenue (#619), and Pennsylvania Avenue (#620). Five prizes of $50,000 cash will be awarded. Pennsylvania Avenue is rare, with odds of 1 in 102,718,344. North Carolina Avenue and Pacific Avenue are not rare and have odds of 1 in 10.
DARK BLUE: Park Place (#621) and Boardwalk (#622): One prize of a million dollars cash will be awarded! Boardwalk is the rare piece, with odds of 1 in 513,591,720. The odds of finding Park Place are 1 in 11.
RAILROADS: Reading Railroad (#623), Pennsylvania Railroad (#624), B&O Railroad (#625), and Short Line (#626). 200 prizes of $500 cash will be awarded. Short Line is the rare game piece, with odds of 1 in 2,567,959. Odds of finding the other three railroad game pieces are 1 in 11.
For more details about any of these prizes, check the full McDonald's Monopoly rules.
Quick List of McDonald's Monopoly's Rare Game Pieces for 2016:
A quick recap! The rare game pieces are: Mediterranean Avenue, Vermont Avenue, Virginia Avenue, Tennessee Avenue, Kentucky Avenue, Ventnor Avenue, Pennsylvania Avenue, Boardwalk, Short Line, and Water Works.
And One More Thing Before You Throw Out that Monopoly Game Sticker:
Remember that the collect-and-win game is only one way to win big prizes at McDonald's. Before you throw out your game pieces, be sure to enter your codes online for your chance to win even more prizes. For more information about how to play, who's eligible to win, and more, see 2016 Online Monopoly Game at McDonald's.
Do You Know About this Common McDonald's Monopoly Scam?
HGTV Dream Home Sweepstakes Winners: From the First Giveaway Til Now
Can You Trust the McDonald's Monopoly Sweepstakes?
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Faces of religious persecution: Pastor Andrew Brunson [video]
Evangelical Christian pastor Andrew Brunson was detained for two years in Turkey on charges of "membership in an armed terrorist organization."
Brunson, an American citizen, had lived in Turkey for more than 23 years before his 2016 arrest. After intense international pressure and high-level engagement by the United States, Brunson was allowed to return to the U.S.
He is one of the survivors of religious persecution featured during the State Department's 2019 Ministerial to Advance Religious Freedom.
"Throughout history it has been very rare to have genuine religious freedom," Brunson said.
Vice President Pence called the pastor's story "an inspiration to people across our country and believers around the world."
Iran: A thriving modern society before 1979 revolution [photo essay]
Women in Iran: Before and after 1979 [infographic]


text:
The Gift of No
By Art Edwards
You've submitted your novel manuscript for six months, a year, two years. You've submitted it to ten, 50, 100 literary agents. You've submitted it to five, 15, 25 publishing companies. And all you've gotten for these efforts—when people have bothered to respond—is many clever and not-so-clever variations on "no."
Well, all is not lost. It's 2013, which means you can self-publish your novel. For a small fee—or even for free—you can publish an e-book or print-on-demand title and have it distributed to many of the same markets popular writers enjoy. No more do you have to rely on the publishing elite to get your work out there. You can do it yourself, and you never have to hear "no" again.
I've employed the path of self-publication twice over the past decade. I've made sales, read to captive audiences, received fan mail. My first novel was nominated for an award. My second novel was an award winner. And after a few bumps financially, the second edition of my first novel has been profitable. I should be the last person in the world to tell you not to extend your middle finger to traditional publishing and go it alone.
Only don't.
Wait, why wouldn't I want you to partake in the same process I've enjoyed?
Maybe I do want you to partake in it, and maybe you should eventually, but I want you to consider one other possibility before going the self-publishing route. I want you to consider putting your book away—as in don't read it, edit it, or think about it—for six months.
Writers have done this for centuries to make their work better, but especially in the 21st century, with so many publishing options out there, great writers must be masters at knowing when their work is ready. That's impossible to tell when you've been knee-deep in it for so long. Put your book in a drawer, or in a folder on your computer that you won't be tempted to open any time soon. Go and write something else. Go and do anything else. Your dream of seeing your name along the spine of a book—or as the author of a book with his own Amazon page—isn't going anywhere. In fact, I can all but guarantee it will only get cheaper and easier to self-publish.
Setting your novel aside for six months separates you from your notions of it. It empties your head of all you think your book is and allows you, six months later, to see it for what it really is. There may not be a more useful book revising tool.
I started submitting my third novel, Badge, on November 18, 2010. I know the date because it was the day after Patti Smith won the National Book Award for her memoir Just Kids. I'd been working on Badge, my third rock novel, for four years, and seeing the success of the likes of Smith, along with the success of rock novels like A Visit from the Goon Squad, had me thinking the industry might be looking for something like Badge. I sent out one query to an agent that day. After hearing nothing, I started sending out queries in earnest the following January, in chunks of five agents at a time, stopping when I reached 50. Over the next few months, I received several requests for partials and fulls, I fulfilled those requests, and I waited.
By July, after many rejections and non-responses, it was clear nothing was going to happen quickly with Badge. So, time to self-publish, right? I could have, but I wasn't ready to give up on traditional publishing yet. It had only been six or eight months. I knew writers who'd submitted their novels for years before being accepted.
I decided instead to have another look at Badge. I found three literate people who were willing to be readers, I printed each of them a copy, and one for myself. We all read it and got together to discuss it.
What came out of that critique circle was revelatory. Two of the three readers didn't like the main character, Badge, in a fundamental way. They thought he was kind of a jerk, and too aggressive with some of the other characters. All of this dissing reminded me of a comment from an agent with whom I'd developed a relationship over the years. He said his biggest obstacle to liking Badge was "Badge himself," calling him a "Henry Higgins type" and believing he acted more like a petulant 25-year-old than the 38-year-old he was supposed to be. Despite having already submitted the novel query to dozens of agents, I still had work to do.
I spent the next few months going through my novel, finding the scenes where he was less than empathetic and rewriting them. Then I went through it again, making sure none of these new additions knocked other parts out of key. In the end, I had a new, improved version, and in January 2012, I was ready to re-engage with the publishing world.
I searched out more agents and sent them queries. I got a nice percentage of requests for partials and fulls, so I knew my query was doing its job. I also sent about a dozen queries to small publishers, and I applied to a half-dozen novel contests. And I waited.
When I got tired of waiting I sent out more queries: agents, publishers … anywhere I felt Badge might find a home. By the summer of 2012, I'd received answers from every query I could reasonably expect an answer from, and the answer was still no. 122 agents. 16 indie publishers. Six contests. I'd spent six years writing this novel, almost two submitting it, and about fifteen with the novel as the primary focus of my writing life, and with the exception of one finalist slot in a contest, no one wanted anything to do with it.
There's part of me that doesn't take this rejection as a judgment of my work. I write what can be described as Rock Lit, and that's not the kind of thing traditional publishing gets excited about. The only money-making category where Badge might possibly fit is literary fiction, and no one's calling my work literary. I think of my novels as written for a commercial audience, but the industry obviously doesn't agree.
So, now it's definitely time to self-publish, right? Absolutely nobody wants my novel, so go out there and prove to the world just how awesome and marketable it is. And keep all the spoils.
I've thought long and hard about it, and I've decided I'm not going to self-publish Badge right now.
One reason is that I suspect its self-pub path would closely mirror that of my first two novels. There would be a nice flurry of books sold at first, then the momentum would die. I might get some good reviews. I know a few of my readers would be happy, but in the end I'd have a third novel that's plenty good to my mind but didn't get the marketing push it deserved.
But the main reason I'm not self-publishing Badge is this: I believe it simply isn't good enough yet. Not that it doesn't have value. I believe it's not good enough for how off-genre it is. So, unless my protagonist suddenly grows a pair of fangs, I need to make it better.
This past summer, I enlisted a couple of new readers to read Badge along with me, and I got critiques from both. They (thankfully) found Badge empathetic, but both wanted the novel leaner and meaner, with less backstory, and both had ideas to make the plot more compelling. I've already made the backstory cuts, and I've pinpointed the places for plot changes, edits I'll delve into over the next month or two. This has been painful work, but on another level it's been a relief. My novel is getting better again, so much so I shudder to think it ever went out before these edits took place.
You might not believe me, but right now I feel my novel having been rejected across the board is a kind of gift. Not because I can now go out and become the next big self-publishing success, but because it gives me the chance to see it with fresh eyes, after a long period of not seeing it at all, and to improve it. The more times I revise Badge, the better it will be. I bet the same would go for your book.
And if your book is that good, it can only mean good things for its publication.
TAGS: novel, Publishing, rejection, self publishing, Writing
ART EDWARDS's third novel, Badge (2014), was named a finalist in the Pacific Northwest Writers Association's Literary Contest for 2011. His second novel, Ghost Notes, released on his own imprint Defunct Press in 2008, won the 2009 PODBRAM Award for best work of contemporary fiction. His first novel, Stuck Outside of Phoenix, has been made into a feature film. His writing has or will appear in The Writer, Writers' Journal and Pear Noir!, and online at Salon, The Los Angeles Review, Word Riot, The Collagist, PANK, JMWW, Bartleby Snopes, The Rumpus and The Weeklings. In the 1990s he was co-founder, co-songwriter and bass player with the Refreshments.
6 responses to "The Gift of No"
David S. Wills says:
"It's 2012"?
You're right about the flaw of self-publishing. I'm all for it except that writers are, as William Burroughs once said, notoriously bad judges of their own work. I haven't written a thing in my life that couldn't have been improved by a few more drafts. I doubt more than a handful of writers have, though.
"Setting your novel aside for six months separates you from your notions of it… There may not be a more useful book revising tool."
This is also great advice. Definitely it allows you to view your work more as someone else would, but still it doesn't quite bridge the gap and an editor is pretty much always needed.
Anyway, cool essay and best of luck with your book!
Art Edwards says:
It's so hard to know. The best answer is to have someone else tell you it's ready, and the best someone is someone who's putting their money where their mouth is. The longer I wait, the more determined I am to wait for the latter.
I just love that you show
enough insight & humility
to say
"I will use this time to revise again."
Self-publishing is great — in certain situations.
Writers are rarely marketers.
Who would ever argue that cheap and easy self-pubbing shouldn't exist? It's very important to us as artists that it does. You always have to be able to take it to the people and let them decide. Still, it's hardly the answer for every situation.
Knock 'em dead, kid.
JSBreukelaar says:
Thanks for those insights, Art. You've obviously walked the walk.
Thanks, JS.
I just think a lot of what we love about writing gets lost in publishing. Did I start doing this to get some pretty good book published? Hell no. What's the point? It's not going to pay my way, so why not take ten years and make it da bomb?


text:
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Citation Nelson, J.S., 2001. Trichonotidae. Sanddivers. p. 3511-3512. In K.E. Carpenter and V. Niem (eds.) FAO species identification guide for fishery purposes. The living marine resources of the Western Central Pacific. Vol. 6. Bony fishes part 4 (Labridae to Latimeriidae), estuarine crocodiles. FAO, Rome.


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text:
Gcm grosvenor co-investment opportunities fund l.p
Fund opportunities grosvenor
Add: mutupaga35 - Date: 2020-12-28 20:12:04 - Views: 5644 - Clicks: 4253
Joining GCM Grosvenor, from 1994 through, he was the Founder and Managing Partner of Chicago-based Waveland Capital Management, L. GCF II's recent investment into Innophos, Inc. It is one of the largest investors in private equity, infrastructure and real estate funds and co-investments globally. GCM Investment Partners, L. 5, /PRNewswire/ -- GCM Grosvenor has completed the final close of its Secondary Opportunities Fund II, L. Fund investors include public and Taft-Hartley pension plans, financial institutions, healthcare.
gcm grosvenor co-investment opportunities fund l.p Global alternative asset manager GCM Grosvenor has hit a 0m final close for its second co-investment opportunities fund. Department: Finance – Fund Finance. 5, /FIR — GCM Grosvenor gcm grosvenor co-investment opportunities fund l.p has completed the final close of its Secondary Opportunities Fund II, L. CHICAGO, Ap /PRNewswire/ -- GCM Grosvenor, a global alternative asset manager, announced today that it completed the final close for its Co-Investment Opportunities Fund II with approximately 0 million in committed capital.
Riverview Opportunistic Cayman Fund SPC raised 1,335,470 from 59 investors on. &0183;&32;The issue of GCM Grosvenor picking a diverse set of managers for its private equity fund of funds came up at a Dec. GCM Grosvenor's Labor Impact Fund, L. Growth Capital Funds target lead and co-investment opportunities in venture capital and small buyout stage companies with growth characteristics across a range of sectors. No assurance can be given that any investment will achieve its objectives or avoid losses. ,000,000 raised with Gcm Grosvenor Co-investment Opportunities Feeder Fund Lp on March, : ,000,000 raised with Gcm Grosvenor Co-investment Opportunities Feeder Fund Lp on November, : 9,966,666 raised with Gcm Grosvenor Customized Infrastructure Strategies Ii. GCM Grosvenor's Labor Impact Fund, L. 4 Summary Tables Fund Summary GCM Grosvenor Pacific, L.
Prior to this he founded Apex Capital, a + billion hedge fund where he was the CIO for more than 20 years. The Growth Capital Funds are managed by Beringea and GCM Grosvenor Private Markets. GCM Grosvenor NYC Emerging OFI Managers, L. 3, -- Alaska Communications Systems Group, Inc. SummaryWorking as a member of the Private Equity Co-Investments team, the Analyst will be e this and similar jobs on LinkedIn. Blackstone Tactical Opportunities Fund - C L.
GCM Grosvenor Windandsea Fund, LLC (Novem). &0183;&32;GCM Grosvenor's investment is through its Labor Impact Fund, which raised nearly 0 million as of early September. , seeks to originate and execute infrastructure projects that leverage the inclusion of union labor as a contributing factor to enabling attractive risk. models for investment program cash flow projection, fund cash flow and return analysis, and secondary investment and co-investment return and sensitivity. to the position at GCM Grosvenor's discretion. GSF II, which held its first close in March of, reached gcm grosvenor co-investment opportunities fund l.p the fund's hard cap.
&0183;&32;Alaska Communications Systems Group, Inc. Street Address 1 Street Address 2; MAPLES CORPORATE SERVICES LIMITED: UGLAND HOUSE, SOUTH CHURCH STREET: City State/Province/Country ZIP/PostalCode Phone Number of Issuer; GRAND CAYMAN: CAYMAN ISLANDS: KY1-1104: 312. Direct links to the EDGAR source material. , announced today that they have entered into a. GCM Grosvenor Special Opportunities Fund, Ltd. J Quarterly Report Past performance is not necessarily indicative of future results.
For additional information, see the Endnotes section in the Appendix. GCM Grosvenor's Asset Class and Geography definitions may differ from those used by Burgiss. GCM Grosvenor Co-Investment Opportunities Fund II ("GCF II") held its final closing on 31 March on aggregate commitments of ~US7 million, bringing the total fund size to ~US9 million, ~50% of which has been invested in companies to date.
(PE1's commitment to GCF II totals US million. Your use of this website is subject to GCM Grosvenor's User Agreement. , seeks to originate and execute infrastructure projects that leverage the inclusion grosvenor of union labor as a contributing factor to enabling attractive risk-adjusted returns. ("GSF II") with 0 million in committed capital, the Chicago-based firm announced today. (NASDAQ: ALSK) ("Alaska Communications" or the "Company") today announced that it has received an acquisition l.p proposal from a. &0183;&32;GCM Grosvenor's Chief Human Resources Officer is joined by an internationally renowned strategist to address key diversity and inclusion challenges and opportunities. "GCM's Labor Impact Fund provides strategic value to our business both through its experience in the telecommunications sector and in fostering partnerships with a unionized gcm workforce," said Bill Bishop, president and CEO of Alaska Communications. (GCM Grosvenor reserves the right to.
The firm's Public Markets solutions group provides hedge fund investment management and advisory services to clients worldwide. Fund Accountant, Hedge Fund Strategies. Grosvenor's private markets solutions group, GCM Customized Fund Investment Group, invests client assets in primary fund investments, secondary fund investments and co-investments across the. 0% of capital allocated to customized funds available only to GCM Grosvenor advised capital 94. 6% of capital invested in funds with preferential fee terms 9 Profile 1 As a percentage of the Fundsnet asset value. gcm grosvenor co-investment opportunities fund l.p Sandy Colen is the founder and Chief Investment Officer of SCP Investment.
From 1988 to 1994, Mr. GCM Grosvenor Private Markets manages private equity, infrastructure and real estate sub-asset classes through primary fund investments, secondaries and co-investments. In February, GCM Grosvenor Co-Investment Opportunities Fund II (GCF II) completed two new co-investments, bringing the well-diversified portfolio's total to 13 co-investments alongside 10 different sponsors in six different industries. Posted 4 weeks ago. GCM Grosvenor Closes its Second Co-Investment Fund CHICAGO, Ap /PRNewswire/ -- GCM Grosvenor, a global gcm grosvenor co-investment opportunities fund l.p alternative asset manager, announced today that it completed the final close for its Co-Investment Opportunities Fund II with approximately 0 million in committed capital.
, GCM Customized Fund Investment Group, L. Topics include defining terms, hiring strategies around sourcing underrepresented groups including women and candidates of color, and best practices to leverage diversity and inclusion to drive business goals. Apollo SVF Mgmt L P $ 150. $ 1,510,718 $ 1,530,621 Blackstone Tactical Opportunities Fund (KG Co-Invest) L. The vehicle specializes in middle-market co-investments alongside private equity firms.
GCM Grosvenor is one of the world's largest and most diversified independent alternative asset management firms, with approximately billion in assets under management. Riverview Opportunistic Cayman Fund SPC Funding details. portfolio of holdings. Co-Investment Opportunities Fund II targets buyout co-investments alongside private equity sponsors, with a focus on the middle-market. GCM Grosvenor Pacific, L.
(NASDAQ: ALSK) ("Alaska Communications" or the "Company"), together with Macquarie Capital ("Macquarie"), and GCM Grosvenor ("GCM"), through its Labor Impact Fund, L. It is one of the world's top discretionary allocators to hedge funds with an estimated . , together with Macquarie Capital, and GCM Grosvenor, through its Labor Impact Fund, L. Company type: Limited Parternship: Universal Entity Code:: Last updated: Sunday, Aug 4:22:19 AM UTC: Official Address: George Town. Asset manager GCM Grosvenor has closed its second co-investment opportunities fund on around 0 million. SEC Filings include 13F quarterly reports, 13D/G events and more. 2% Ares Corporate Opportunity Fund LP $ 4. Richter was a Vice President of JMB Realty Corporation in the Corporate Acquisitions Group.
GCM Grosvenor, a global alternative asset manager, announced today that it completed the final close for its Labor Impact Fund (the "Fund") on Septem, Labor Day in the United States. 9% Ares Corp Opportunity Fund II $ 6. , announced today that they have entered into a definitive agreement pursuant to which the Company will be acquired by. GCM Grosvenor is one of the world's largest independent alternative asset management firms, with over billion in assets under management and over 450 professionals.
Alaska Communications Systems Group, Inc. GCM Grosvenor's investment management and advisory services span public and private markets, focusing on hedge funds, private equity, infrastructure and real estate. When not picking stocks or managers, Sandy is most at home hiking mountains in Colorado. Benchmarks for certain investment types may not be available. Growth Capital Funds.
Macquarie Capital and GCM Grosvenor have agreed to acquire Alaska Communications, a provider of advanced broadband and managed IT services, in a take-private deal for about 0 million. &0183;&32;GCM Grosvenor's Labor Impact Fund, L. Industry: Pooled Investment Fund CIK Number:Address: GLENVIEW CAPITAL MANAGEMENT, LLC 767 FIFTH AVENUE, 44TH FLOOR NEW YORK 10153 Phone number:. 8% Ares Corporate Opportunity Fund III.
("GSF II") with 0 million in committed capital, the Chicago-based. ) If interested and qualified for this position, please notify Human Resources. Detailed Profile of GCM gcm grosvenor co-investment opportunities fund l.p Grosvenor Multi-Asset Class Fund II Trading, L. ANCHORAGE, Alaska--(BUSINESS WIRE)--Nov. Screen, analyze, conduct due diligence on and monitor private equity investment opportunities involving primary funds, co-investments and. Public filings of GCM Grosvenor Special Opportunities Master Fund Ltd raised by Grosvenor Capital Management LP located in,.
Based in Chicago, GCM operates offices in New York, Los Angeles, Tokyo, Hong Kong and Seoul. GCM Grosvenor, a global alternative asset management firm, announced today that it has closed on an agreement to provide million in debt financing to Bakersfield Renewable Fuels ("BKRF") to. Sara Corr, CalPERS interim private equity managing investment director, disclosed that approximately one-third of the 0 million in the first two GCM Grosvenor emerging manager funds has gone to firms with investment teams spun off from. 8% Arclight Energy Partners Fund IV $ 8.
long/short equity hedge fund affiliated with GCM Grosvenor. is detailed below. GCM Grosvenor has used its best efforts to match its Asset Class, Geography, and strategy definitions with the appropriate Burgiss data but material differences may exist. &0183;&32;GCM Grosvenor is headquartered in Chicago, with offices in New York, Los Angeles, London, Tokyo, Hong Kong, and Seoul. 10 investment committee meeting. This website is for informational gcm grosvenor co-investment opportunities fund l.p purposes only and does not constitute an offer of investment management or investment advisory services by Grosvenor Capital Management, L. GCM Grosvenor is headquartered in Chicago, with offices in New York, Los Angeles, London, Tokyo, Hong Kong, and Seoul. Funding details GCM Investment Partners, L.
EQUAL OPPORTUNITY EMPLOYER M/F/D/V 1 September 11,.
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