text:
Project organisation
Water &
Demonstration Cases
Altenrhein (CH)
Athens (GR)
Braunschweig (DE)
Costa Brava Region (ES)
Filton Airfield (UK)
Gotland (SE)
La Trappe (NL)
Spernal (UK)
Timisoara (RO)
Westland Region (NL)
Close partners
Communities of Practice: What are they and how to use?
13 December 2021 8 December 2021 by NextGen
Involving stakeholders is particularly relevant for managing complex socio-technological problems
The world has finite resources and we quickly need to move towards a circular economy. For that, there's an urgency for new and sometimes highly technological solutions that connect different parts of the economy. In general, the development and implementation of these technologies faces two kinds of problems:
1. Up to now, the different subparts of the economy have been managed separately, either publicly or privately, according to their own set of standardised rules, routines and practices.
2. People can be concerned and suspicious about new technologies, especially when they interfere with basic public services such as food and water.
To face this second issue and also raise to attention the first one, public outreach activities are a necessity. They help citizens to acquaint with new circular technologies and increase their trust in these technologies. Research and experience over the last decades has demonstrated that involving stakeholders in an early stage of technology development contributes to an effective design and implementation of new technologies, while also building up trust.
Communities of Practice (CoP)
Communities of Practice (CoP) provide a useful perspective on knowing and learning. The concept was first introduced in 1991 by the cognitive anthropologist Jean Lave and the educational theorist Etienne Wenger in their book "Situated Learning. Legitimate Peripheral Participation". Communities of Practice are defined as follows:
"Groups of people who share a concern, a set of problems, or a passion about a topic, and who deepen their knowledge and expertise in this area by interacting on an ongoing basis."
In a CoP, three elements are fundamental: the domain, the community and the practice. To cultivate a CoP, the combination of the three must be developed in parallel:
Domain: A CoP distinguishes from other networks since its members identify themselves by a shared domain of interest. Membership involves a commitment to the domain and a shared competence. 
Community: While showing their interest in their domain, community members develop and share information, help each other and join activities and discussions. In this form of interaction, members build relationships in order to learn from each other and to support each other. 
Practice: Members of a CoP do not only share a common interest, they are engaged in common practice, as an iterative social process, where they develop and utilize a shared repertoire of resources that builds together toward a common goal. These can be experiences, stories, tools or ways of addressing recurring problems. To develop this kind of a shared practice it takes time and continuous interaction.
Communities of practices in nextGen
In nextgen, stakeholders are involved through Communities of Practice (CoPs), organised in four face-to-face meetings at each demo case. The CoPs aim to create an engagement environment around the demonstrated circular water innovations in with stakeholders across the water value chain. Also, promote interaction and collaboration.
More specifically, the objective is to have strategic discussions on technical feasibility, economic aspects (societal cost-benefits), environmental impacts, and policy bottlenecks and barriers. The relevant stakeholders differ for each demo case. In general, these will include the water industry (operators), authorities (regulators, policy & decision makers), engineering companies, consultants, research institutes, representatives of non-governmental organisations, and potential end-users.
Do you want to learn more about how to develop a Community of Practice? Check our 'Community of Practice Roadmap and Facilitation Guidelines'.
Click here to access our guidelines
Categories Article Post navigation
Know our demo cases: Westland Region
Value Chains in a circular economy
Daily news and insight on water, food and energy in the circular economy
The circonomist
Tweets by @NextGenWaterEU
RT @CiprianNanu: The2-nd Community of Practice (#CoP) took place in #Timisoara, part of the local efforts to develop a strong & sustainable…4 hours ago
It is not practical to achieve net-zero only by decarbonizing the energy sector. Total transformation of key econ… https://t.co/NF57EZcY1r7 hours ago
Any product we consume follows a large chain of involved producers to get to us. Circular Economies further comp… https://t.co/K0Z3LVCmag2 days ago
RT @atlanteanmedia: Is it a bird? Is it a plane? No, it's a giant rainwater harvesting system! Find out why the @YTL_Arena development wi…3 days ago
What to expect in the next year for the water sector? Utilities are adopting digital technologies at a faster rate… https://t.co/lKZU3NV77F7 days ago
Do you think Europeans are ready to drink recycled water? A set of EU-funded surveys has revealed a surprisingly h… https://t.co/Gv467knZmq9 days ago
Archives Select Month January 2022 (1) December 2021 (2) November 2021 (1) October 2021 (1) September 2021 (2) August 2021 (1) July 2021 (2) June 2021 (1) May 2021 (2) April 2021 (9) March 2021 (11) September 2020 (2) July 2020 (1) June 2020 (1) May 2020 (1) March 2020 (1) February 2020 (1) January 2020 (2) November 2019 (1) September 2019 (1) August 2019 (1) July 2019 (2) June 2019 (1) May 2019 (3) April 2019 (2) March 2019 (1) February 2019 (1) January 2019 (1) December 2018 (3) November 2018 (4) October 2018 (3)
Know our demo cases: Timisoara
Know our demo cases: Spernal
Water & Circular Economy
The consortium has received funding from the European Union's Horizon 2020 research and innovation program under grant agreement No. 776541.
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The market for top candidates is competitive. With companies offering a laundry list of perks, how can you make yours stand out and attract the best candidates?
As you know, acquiring the best, top-of-the-line option of anything usually requires opening your wallet and shelling out some extra cash. Attracting the best talent to your company is no different. How many times in your life have you left your job for one with a lower salary? How about one with a higher salary? According to the Society for Human Resource Management, 45 percent of employees find a new job because of their current salary and benefits.
Offering flexible schedules and remote work opportunities can unlock an untapped group of expert professionals you didn't have access to in the past. Often, this is the case if specialized workers are hard to find or too high in demand in your area.
Increasingly, employees are looking for a better work-life balance. Offering a flexible schedule allows employees to spend more time with their families and can help promote a healthier, stress-free work environment. For many candidates, flexible hours may be the factor that tips them in favor of your company.
Does your company participate in community events? How often does it give back to the community or sponsor mentorship programs? Events like these give candidates valuable skills and experience to add to their resumes. Increasingly, today's employees are looking for companies that are good corporate citizens and that offer opportunities for charitable and community works.
Having a company that encourages community involvement also fosters a company culture that attracts smart, motivated employees. An employee who wants to improve the community, serve on local boards and make strong networking connections is likely also invested in building their career. This helps build your company along with it. Having an involved, well-connected employee also opens a new recruiting stream of like-minded job seekers.
Top talent is not looking for a dead-end job. Instead, top-shelf talent is looking for a career that provides skills, mentorship and advancement opportunities. All things considered, education is a key component of a high-quality workforce. Lifelong learners are constantly looking for ways to improve workflows. Likewise, they are more likely to keep up with industry trends and incorporate research-driven ideas into your business. When you provide learning opportunities, you can attract the best candidates.
There are multiple ways to bring learning opportunities into your work environment. You can start small by scheduling lunch-and-learn events with company leaders. Another example is sending employees to local workshops and mixers. Encourage and support employees to gain certifications related to their position. If it is in your budget, larger companies offer tuition reimbursement programs to help encourage higher learning and degree advancement within the workplace.
People want to work in an environment with a strong culture, where they see themselves as part of something greater. One of the easiest ways to attract talent that will perform well in your company is to post a clear mission statement with attractive company values.
When applying for a job and preparing for an interview, most job candidates research the company. People want to work where they can see themselves making a difference, especially Millennials. Not only does a strong mission statement help you attract the right candidates, but it helps you retain them as well.
Do you need help finding top talent?
Syndeo can help your business find the right job candidates. With an unprecedented expertise in Kansas' diverse economy, Syndeo can help you access the best in the region's talent pool. For more information, contact us at (316) 630-9107.


Michael John Garcés' plays include, Los Illegals (Cornerstone Theater Company, Los Angeles, and Teatro Bravo, Phoenix); Points of Departure (INTAR); Acts of Mercy (Rattlestick Playwrights Theater; Flush Puppy Productions in Chicago); Earthquake Weather (reading: Center Theatre Group, Los Angeles); The Web; Graceless; Customs (INTAR); Suits (Twilight Theatre Co.); [The Site] (readings: American Place Theatre and Repertorio Español); Land. (Juggerknot, Miami); and the short plays, Tostitos (Ensemble Studio Theatre - 2008 Marathon); On Edge and The Ride (2007 Humana Festival - Anthology Project); Good To You and The Delivery (Collaboraction, Chicago); Overexposed (Shalimar); Kapital (Estrogen Fest, Chicago); Adelaide (Production Company); Frag (Side Project Theatre, Chicago); Audiovideo (Drama League Director's Project); Last Call and Off Season (Prospect Theatre); Souveniers and Tell Her That (Vital Theatre); Sandlot Ball (Mile Square); Now And Then and Jitters/ (La Mama); Other: Intrusions (INTAR); Up For Air, and Deeper (American Living Room). Performance pieces include, God (Cornerstone); Agua Ardiente (American Place Theatre); Caught (El Sueño Al Soñador) and Running The Red (Peculiar Works); World Without End (Red Dive); Mouth.Piece (P.S. 122); T.R.U.S.T. (Nuyorican Poet's Café; Beyond Baroque, Los Angeles) and text for Heartsong, which was performed as part of "The Borges Project" at the Cultural Center of the Philippines. He has twice collaborated with composer Aleksandra Vrebalov: Stations, an oratorio, premiered at the Rhode Island Civic Chorale and Orchestra and was recently performed at the NOMUS Festival in Novi Sad, Serbia, and Canta Claro won the 2004 "Friends and Enemies of New Music Composition Prize." His song, "Oración para la caida del sol" was recently released on Cristian Amigo's CD "Kingdom of Jones" (Innova). Publications: Sandlot Ball (Seventh Inning Stretch - Playscripts, Inc.); On Edge and The Ride (Humana Festival 2007: The Complete Plays - Playscripts, Inc.); Now And Then (Positive/Negative - Aunt Lute Books).


Since the August 20, 2010 update, L4D2 fully supports custom sounds. Instructions provided by Valve are available in the L4D2 Campaign Add-on Tutorial article. This article covers how custom sounds are used in L4D2, file management, and testing.
There are many places where custom sound files work: either in an official sound folder, a sound folder in a known search path, or addon containing a sound folder.
Tip:Building/rebuilding sound.cache of a separate search path or addon is faster than using the official sound folder (especially with older computers). There are a smaller number of sound files to process every time sound.cache is built. There is the added benefit of managing your assets in a modular fashion during development. It is also easier to merge assets into a single VPK when ready to share/ship.
Warning: Don't place sounds files in root of the sound directory because it will cause bugs. Add them in a sub-directory instead (ex: ../sound/music/terror). It can be a new sub-directory or an "official" sub-directory provided by default.
Create a directory anywhere with a sound sub-folder.
Add the directory path in gameinfo.txt found at "..\left 4 dead 2\left4dead2\gameinfo.txt"
Create another folder within the sound folder, either a unique or existing name (i.e. ambient, music, etc.). Maintain the same naming structure as the official sound folder, if possible.
Create a folder in the addons directory. It should contain a sub-folder named sound. The addons directory is located at "..\left 4 dead 2\left4dead2\addons"
Create another folder within the sound folder. This is where sounds can be stored.
Build sound.cache for the addon using in-game console: snd_buildsoundcachefordirectory ../left4dead2/addons/<name of VPK addon folder that will be packed into a VPK>. This command will search for a directory called sound and create a file called sound.cache within it.
Create the VPK as a content pack. In other words, only the sounds (and correct directory structure) and sound.cache are needed. There is no need to delete the unpacked VPK. Keep that for making any later changes.
Update sound.cache and repack the VPK in order to hear new or relocated sounds.
Build sound.cache with snd_buildsoundcachefordirectory ../left4dead2/addons/customsoundaddon.
As an addon: After building sound.cache, create customsoundaddon.vpk dragging the customsoundaddon folder to a shortcut of vpk.exe.
Test testsound.wav in-game, play ambient/testsound.
A separate search path containing custom sounds and sound.cache, as discussed above. You may combine or separate assets anyway and anywhere you like as long as the mounting path is added to gameinfo.txt.
A blank per-map soundscript (a .txt file) - maps/<map name>_level_sounds.txt.
These files and folders will ultimately integrate with the map(s) and other assets for shipping as a single add-on/VPK.
.wav is used extensively for official sounds. There are also some .mp3 files used as well, mostly for UI music.
Bug: (Tested Oct. 6, 2011) .mp3 files are currently known to suddenly stop playing for soundscript entry "Event.MissionStart_<Music Post-Fix String>" and with ambient_music. With ambient_generic, the Start Silent flag and StopSound input will not work for .wav and .mp3 if the is NOT looped flag is checked. The exact causes are unknown, the bugs may be inconsistent, and they are subject to change (for better or worse) as the game continues to receive updates.
In other words, the sound system in L4D2 is buggy but extensive testing will still give desired results... eventually.
Tip:Use 16 Bit PCM format, as this is common in most audio software and is supported.
For example, the song to the rolling credits, music/unalive/themonsterswithin.wav, plays over almost every other sound. If that sound file (along with the soundscript entry) is moved to the different directory, the music will behave differently. The player will hear other sounds mixed into the ending credits, such as zombies moaning, survivor remarks, soundscapes, etc.
A feature called soundmixers may be the script behind priority/ducking of sounds. The location of a sound file within the sound directory dynamically controls what is played in the foreground and what is softened or muted. The script is located in scripts\soundmixers.txt within pak01_dir.vpk. See GCFScape for details on how to extract the script for viewing. To do: It doesn't seem to translate perfectly in-game, so it could be hard coded folder locations.
Note:Sound ducking (To do: is that correct terminology? priorities? ducking?) is not fully understood in this article. Soundmixers may or may not be a factor in determining the priority of songs. More information derived from testing or documentation is needed to fully document the way it works. For example, there is suspicion that there may be hard coding of directories involved (testing directories with the same priority attributes). New sound entry attributes only found in recent Source games may also contribute to sound priority.
Sounds that loop need to be looped with a third-party program. Please see Looping a Sound for details.
Per-map soundscripts appear to be the only way to create custom or modified soundscript entries. Brand new soundscript entries can easily be created or an existing soundscript entry like Event.Tank can be safely overridden for a single map. When testing or shipping, the result is a maps folder that contains a <map name>_level_sounds.txt for every map within the campaign.
Open <map name>_level_sounds.txt with a text editor.
Please see L4D2 Soundscripts for more details. To do: Cover L4D2 soundscripts. What is unique to the game.
All official in-game sound effects, vocalizations, and music rely on soundscripts to tweak the sound to the desired channels, volume, pitch, etc. With maps/<map name>_level_sounds.txt. You can customize existing entries without causing conflicts with other addons and official campaigns. Simply copy the entries you would like to change to the per-map soundscript.
Soundscript entries can be found in the scripts/game_sounds_*.txt folder by opening pak01_dir.vpk with GCFScape.
A lot of music entries rely on Map Properties > Post-Fix String found in Hammer and nav mesh attributes in-game. For example, the Post-Fix String of the map c5m1_waterfront.bsp is "BigEasy" and it plays its style of intro music in-game, where the nav mesh is marked PLAYER_START and CHECKPOINT.
game_sounds_music.txt provides great sample soundscript entries for music. Some entries string together different notes of the same instrument and are played randomly in succession.
game_sounds_physics.txt has entries for sounds that play during in-game interactions, such as a walking on snow or shooting a concrete wall.
Custom soundscapes in L4D2 appear to work well without the need to modify the official soundscapes manifest. They are "per-map" text files like soundscripts, but are instead located in the scripts folder: scripts/soundscapes_<map name>.txt. Soundscapes usually use .wav files, where looping is typically involved. .mp3 files may also work (looping not supported).
Official maps only use env_soundscape for level sound design. Other entities and methods may not work as intended. Feel free to experiment!
Testing a custom soundscript entry is as simple as creating an up-to-date sound.cache, restarting the game, and then playing the sound within a map. As noted in the add-on tutorial, sound.cache is built with the console command snd_buildsoundcachefordirectory ..\left4dead2\<location of sound folder>. When the sound cache is successfully created or updated, the console will output the number of sound files found in the add-on sound directory.
Note:There are other ways to confirm that sound.cache has been updated. Go the sound directory of that add-on and look at the time in which it was modified. You can even open sound.cache with a text editor to see if they contain sound files that are expected to be there.
Tip:For ambient_generic, if the sound file is programmed to loop (the actual sound file itself), then un-check the flag "is NOT looped" in order to be able to stop the sound from continuously looping with input StopSound. ambient_music does not have this flag and looping should work as intended.
Note:ambient_generic also features FadeIn and FadeOut inputs.
In most cases, if a sound refuses to stop playing for any reason, stop the sound via console. Consider the bugs involved with these sound enties if you need to be able to StopSound with entity I/O.
stopsound //This is a console command, looks just like the input for the two sound entities.
To do: extend testing: sounding right, unique music features in l4ds.
As mentioned in the L4D2 Campaign Add-on Tutorial, the final, and most likely separate, VPK will contain all the unique assets to your campaign or single map. In terms of custom sound, simply copy over the sound folder and per-map soundscripts that you have been working with. Congratulations on shipping!
Gamasutra Game Audio Theory: Ducking - 'Ducking', or lowering the audioscape volume, can create greater engagement for listeners.
This page was last modified on 1 August 2018, at 22:00.


Hey kids! Thanks for stopping by. We have a super fun show ahead of us this week! yes! It is true! We are The Toys R Us Report again! Hooray for us right?
This week we have some catching up to do especially on the movie front. Over the last couple of weeks I saw 3 cool movies, one of them was like the best movie that I've ever seen. Really, it was that good.


Holy Youth is a four-piece dream punk band from Montevallo, AL. They started playing live in April 2012, and they released a self-titled EP on Happenin Records in early 2013. They have played support sets with The Fresh and Onlys, Cheap Times, and Natural Child. Currently, Holy Youth is planning to release their first full-length and tour the east coast in fall 2013.


text:
Home→Judgments→High Courts
Mining Forum of South Africa and another v Minister of Mineral Resources and others
High Court of the Republic of South Africa, North West Division, Mahikeng
Case no. M43/2018
Judge: Leeuw J
In this matter, the Mining Forum of South Africa (Mining Forum) brought an application requesting for an order declaring, inter alia, that the Minister of Mineral Resources (Minister) acted in breach of his statutory duty in terms of the Mineral and Petroleum Resources Development Act, 2002 (MPRDA) by failing to act against Lonmin for its failure to implement its Social and Labour Plans over the period 2013 – 2017 and that the conduct of the Minister, Lonmin and the other co-respondents are in breach of section 24(b)(iii) of the Constitution of the Republic of South Africa, 1996 (Constitution). The Mining Forum asked the Court to, inter alia, suspend Lonmin and its subsidiaries' mining rights.
It was not disputed that the Minister was in breach of his statutory duty to take action against Lonmin and its subsidiaries: it was therefore not necessary for the Court to make such a declaratory order. The Court also held that the Mining Forum should have challenged the failure by the Minister to take action against Lonmin and its subsidiaries in terms of the Promotion of Administrative Justice Act, 2000. It also found that it was in appropriate for the Mining Forum to rely on section 24(b)(iii) of the Constitution because when there is legislation in place to give effect to a certain provision of the Constitution, the Constitution should only play a subsidiary or supporting role in litigation (the principle of subsidiarity).
The application was therefore dismissed with costs.
Download the judgment

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Time axis in d3.js with specific time zone I am using d3.time.scale()(reference here) to create time scale and providing tick values using axis.tickValues([values]) (here). The ticks are rendered for the specified Date objects provided in [values].
All fine, but the tick values representations are always in current time zone of the browser. Now comes the requirement to show it in a specific time zone (say, 'Asia/Calcutta'). Is there a way to achieve this? The max option I see is for formatting the ticks, but not replacing them with custom values, which doesn't help the case.
EDIT: This might be achieved using an external library like moment.js, but it is preferred if this could be avoided.

A: Based on the solution by Mark, here is a working solution without using external library. Enter the Time zone id (e.g. - Europe/Berlin) in the text field.

// Set the dimensions of the canvas / graph
var margin = {
    top: 30,
    right: 20,
    bottom: 100,
    left: 50
},
width = 600 - margin.left - margin.right,
    height = 270 - margin.top - margin.bottom;

var currentTZ = "local";

// Set the ranges
var x = d3.time.scale().range([0, width]);
var y = d3.scale.linear().range([height, 0]);

// Define the axes
var xAxis = d3.svg.axis().scale(x)
    .orient("bottom").ticks(10)
    .tickFormat(function (d) {

    if (currentTZ === "local") return d3.time.format('%X')(d);
    else {
        console.log(currentTZ);
        return d3.time.format('%X')(new Date(d.toLocaleString('en-US', {
            timeZone: currentTZ
        })));
    }
});

var yAxis = d3.svg.axis().scale(y)
    .orient("left").ticks(5);

// Define the line
var valueline = d3.svg.line()
    .x(function (d) {
    return x(d.date);
})
    .y(function (d) {
    return y(d.close);
});

// Adds the svg canvas
var svg = d3.select("body")
    .append("svg")
    .attr("width", width + margin.left + margin.right)
    .attr("height", height + margin.top + margin.bottom)
    .append("g")
    .attr("transform",
    "translate(" + margin.left + "," + margin.top + ")");

var data = [{
    date: new Date(0),
    close: Math.random() * 100
}, {
    date: new Date(1800000),
    close: Math.random() * 100
}, {
    date: new Date(3600000),
    close: Math.random() * 100
}, {
    date: new Date(5400000),
    close: Math.random() * 100
}, {
    date: new Date(7200000),
    close: Math.random() * 100
}, {
    date: new Date(9000000),
    close: Math.random() * 100
}, {
    date: new Date(10800000),
    close: Math.random() * 100
}, {
    date: new Date(12600000),
    close: Math.random() * 100
}]

// Scale the range of the data
x.domain(d3.extent(data, function (d) {
    return d.date;
}));
y.domain([0, d3.max(data, function (d) {
    return d.close;
})]);

// Add the valueline path.
svg.append("path")
    .attr("class", "line")
    .attr("d", valueline(data));

// Add the X Axis
svg.append("g")
    .attr("class", "x axis")
    .attr("transform", "translate(0," + height + ")")
    .call(xAxis)
    .selectAll("text")
    .style("text-anchor", "end")
    .attr("dx", "-.8em")
    .attr("dy", ".15em")
    .attr("transform", function (d) {
    return "rotate(-65)"
});

// Add the Y Axis
svg.append("g")
    .attr("class", "y axis")
    .call(yAxis);

handleClick = function () {
    currentTZ = document.getElementById('timeZ').value;
    console.log(currentTZ)
    svg.selectAll("g.x.axis")
        .call(xAxis)
        .selectAll("text")
        .style("text-anchor", "end")
        .attr("dx", "-.8em")
        .attr("dy", ".15em")
        .attr("transform", function () {
        return "rotate(-65)"
    });
};
 body {
     font: 12px Arial;
 }
 path {
     stroke: steelblue;
     stroke-width: 2;
     fill: none;
 }
 .axis path, .axis line {
     fill: none;
     stroke: grey;
     stroke-width: 1;
     shape-rendering: crispEdges;
 }
<script src="https://cdnjs.cloudflare.com/ajax/libs/d3/3.4.11/d3.min.js"></script>
<input name="Submit" type="submit" value="Change Time" onClick="handleClick()">
<input type="text" id="timeZ" value="local">
</form>

A: Timezones are such a pain in the ass.  But if you couple d3 with the the excellent moment timezone, this task becomes pretty easy with a tickformatter function:
// create reference to current zone
var currentTZ = "local";

// Define the axes
var xAxis = d3.svg.axis().scale(x)
  .orient("bottom").ticks(10)
  .tickFormat(function(d){
      console.log('format');
      if (currentTZ === "local")
        return moment(d).format('hh:mm:ss');
      else
        return moment(d).tz(currentTZ).format('hh:mm:ss');
  });

  // when user picks a new zone, re-draw axis
  ...
  .append("select")
  .on('change', function(d){
    currentTZ = this.options[ this.selectedIndex ].text;
    svg.selectAll("g.x.axis")
      .call(xAxis);
  })

Here's a full working example:

<!DOCTYPE html>
<html>

  <head>
    <meta charset="utf-8" />
    <script data-require="moment.js@2.10.2" data-semver="2.10.2" src="https://cdnjs.cloudflare.com/ajax/libs/moment.js/2.10.2/moment.min.js"></script>
    <script data-require="moment-timezone-with-data@0.4.0" data-semver="0.4.0" src="http://momentjs.com/downloads/moment-timezone-with-data.js"></script>
    <style>
    /* set the CSS */

    body {
      font: 12px Arial;
    }

    path {
      stroke: steelblue;
      stroke-width: 2;
      fill: none;
    }

    .axis path,
    .axis line {
      fill: none;
      stroke: grey;
      stroke-width: 1;
      shape-rendering: crispEdges;
    }
  </style>
  </head>

  <body>
    <!-- load the d3.js library -->
    <script src="http://d3js.org/d3.v3.min.js"></script>
    <script>
    // Set the dimensions of the canvas / graph
    var margin = {
        top: 30,
        right: 20,
        bottom: 100,
        left: 50
      },
      width = 600 - margin.left - margin.right,
      height = 270 - margin.top - margin.bottom;

    var currentTZ = "local";

    // Set the ranges
    var x = d3.time.scale().range([0, width]);
    var y = d3.scale.linear().range([height, 0]);

    // Define the axes
    var xAxis = d3.svg.axis().scale(x)
      .orient("bottom").ticks(10)
      .tickFormat(function(d){
          console.log('format');
          if (currentTZ === "local")
            return moment(d).format('hh:mm:ss');
          else
            return moment(d).tz(currentTZ).format('hh:mm:ss');
      });

    var yAxis = d3.svg.axis().scale(y)
      .orient("left").ticks(5);

    // Define the line
    var valueline = d3.svg.line()
      .x(function(d) {
        return x(d.date);
      })
      .y(function(d) {
        return y(d.close);
      });

    // Adds the svg canvas
    var svg = d3.select("body")
      .append("svg")
      .attr("width", width + margin.left + margin.right)
      .attr("height", height + margin.top + margin.bottom)
      .append("g")
      .attr("transform",
        "translate(" + margin.left + "," + margin.top + ")");

    var data = [{
      date: moment().add(0, 'hours').toDate(),
      close: Math.random() * 100
    }, {
      date: moment().add(1, 'hours').toDate(),
      close: Math.random() * 100
    }, {
      date: moment().add(2, 'hours').toDate(),
      close: Math.random() * 100
    }, {
      date: moment().add(3, 'hours').toDate(),
      close: Math.random() * 100
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wxIMPLEMENT_DYNAMIC_CLASS(wxBrush,wxGDIObject);

static Qt::BrushStyle ConvertBrushStyle(wxBrushStyle style)
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redpajama_set_name: RedPajamaGithub


CAR rebels 'in presidential palace' Jump to media player Rebels in the Central African Republic (CAR) say they have seized the presidential palace after President Francois Bozize reportedly fled the capital.
CAR rebels halt advance on Bangui Jump to media player Rebel forces in the Central African Republic say they have halted their offensive on the capital, Bangui, and will take part in peace talks.
CAR rebels arrive for Gabon talks Jump to media player Leaders of the rebel group which now controls northern parts of the Central African Republic have arrived in Gabon for talks with government negotiators later this week.
Rebels in the Central African Republic (CAR) say they have seized the presidential palace after President Francois Bozize reportedly fled the capital.
The Seleka rebels were said to be in control of Bangui, where witnesses said there was looting and sporadic gunfire.


text:
The Ancient Romans First Committed the Sartorial Crime of Wearing Socks with Sandals, Archaeological Evidence Suggests
in Fashion, History | January 22nd, 2019 2 Comments
Image via Wikimedia Commons
Of all sartorial crimes, none require quite so much brazenness — or simple obliviousness — as the wearing of socks with sandals. But unlike most widely disdained fashions, which usually tend to have enjoyed their heyday two or three decades ago, the socks-and-sandals combination has deep historical roots. And those roots, so 21st-century researchers have found out, go much deeper than most of us may have expected. "Evidence from an archaeological dig has found," wrote Telegraph science correspondent Richard Alleyne in 2012, "that legionnaires wore socks with sandals" — ancient Roman legionnaires, that is. "Rust on a nail from a Roman sandal found in newly discovered ruins in North Yorkshire appears to contain fibres which could suggest that a sock-type garment was being worn."
"You don't imagine Romans in socks," Alleyne quoted the archaeologist heading the cultural heritage team on site as saying," but I am sure they would have been pretty keen to get hold of some as soon as autumn came along."
As with any new discovery about life in the past, this changes the way enthusiasts of the period have gone about re-creating their favorite elements of it: take, for instance, heritage educator and crafter Sally Pointer. "Pointer has been enamored with the ancient world since she was a kid," writes Atlas Obscura's Jessica Leigh Hester, "when she cooked up plans for potions, devices, and craft projects — all with the goal of understanding how things came to be."
Image by David Jackson via Wikimedia Commons
Looking to socks worn in ancient Egypt (see above), Pointer makes her own versions of these "cheerfully striped" socks using a technique called naalbinding, "which is sometimes considered a precursor to two-needle knitting and involves looping yarn on a single needle," and in this case making each sock's two toes separately and then joining them together. Should more evidence emerge about the techniques and styles of the socks Romans seem to have worn under their sandals, Pointer and makers like her will no doubt be the first to make use of them. But for now, we need only make one important revision to the historical record: "Britons may be famous for their lack of fashion sense and Italians for their style," as the sub-headline of Alleyne's piece puts it, "but it appears we may have inherited one of our biggest sartorial crimes from the Romans."
via Telegraph/Atlas Obscura
Stylish 2,000-Year-Old Roman Shoe Found in a Well
Rome Reborn: Take a Virtual Tour of Ancient Rome, Circa 320 C.E.
Animation Gives You a Glimpse of What Life Was Like for Teenagers in Ancient Rome
The Ancient Egyptians Wore Fashionable Striped Socks, New Pioneering Imaging Technology Imaging Reveals
How Women Got Dressed in the 14th & 18th Centuries: Watch the Very Painstaking Process Get Cinematically Recreated
Getting Dressed During World War I: A Fascinating Look at How Soldiers, Nursers & Others Dressed During the Great War
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.
by Colin Marshall | Permalink | Comments (2) |
Juanita Bey says:
Ummm….what about the Japanese? They were around centuries before the Romans even formed as a people/ government.
Anne Marie Decker says:
If one is interested is seeing comparables, I was granted permission to include pictures of quite a significant portion of the rest of the known corpus currently distributed in museums around the world in my presentation last January. The presentation was recorded and is available online. You can access it through this link on my blog: http://nalbound.com/2019/04/06/charting-the-nalbinding-of-the-nile/


text:
>Amanda "Miss Kitty" Blake - HFSID 168999
AMANDA "MISS KITTY" BLAKE - CONTRACT SIGNED 03/03/1964 CO-SIGNED BY: MILTON M. GROSSMAN - HFSID 168999
AMANDA "MISS KITTY" BLAKE Blake signed this contract in 1964 to hire Milton M. Grossman of the Milton M. Grossman Agency as her agent Carbon contract signed: "Amanda Blake" in ink as Artist on page 4. 4pages, 8½x11, front and verso. Los Angeles, California, 1964 March 3.
Condition: lightly creased, otherwise fine condition
AMANDA "MISS KITTY" BLAKE
Blake signed this contract in 1964 to hire Milton M. Grossman of the Milton M. Grossman Agency as her agent
Carbon contract signed: "Amanda Blake" in ink as Artist on page 4. 4pages, 8½x11, front and verso. Los Angeles, California, 1964 March 3. "Standard AFTRA Exclusive Agency Contract Under Rule 12-B" in which Blake retains the Milton M. Grossman Agency of Los Angeles as her "sole and exclusive Agent in the transcription, radio broadcasting and television industries..." for a period of three years, commencing on March 3, 1964. She agrees to pay the Agency a sum equal to ten percent of "all money or other consideration received". Also signed: "Milton M. Grossman" as Agent for the Agency. In the year she signed this document, Blake was appearing in her most famous role, "Miss Kitty", on TV's hit Western, Gunsmoke. Blake (1929-1989), born Beverly Louise Neill, is best remembered as Kitty Russell, hostess of the Long Branch Saloon in the long-running TV Western Gunsmoke (1955-1974; she left the show before its final season). She was nominated for Golden Globes for Best Actress - Drama for the role in 1969 and 1970 and for the Best Supporting Actress Golden Globe in 1971. Blake, who had been signed by M-G-M in 1949, made her film debut in 1950, the year she was first cast opposite her future Gunsmoke co-star, James Arness, in Stars in My Crown. Her feature film credits also include Sunny Side of the Street (1951), Lili (1953), A Star is Born (1954) and High Society (1955). Blake, who made guest appearances on TV shows from 1952 (Schlitz Playhouse of Stars) to 1983 (Hart to Hart), also starred in several made-for-TV movies, including 1987's Gunsmoke: Return to Dodge, a "reunion" film. Lightly toned. Lightly creased with mid-horizontal fold, not at signatures. Staple holes at upper left corners, 2 pinhead-size holes and ¼-inch tears at upper edge from removal of staples. 2 file holes at upper margins. Otherwise in fine condition.
MILTON M. GROSSMAN
GUNSMOKE TV CAST - COLLECTION WITH CO-SIGNERS - HFSID 90851
AMANDA "MISS KITTY" BLAKE - AUTOGRAPHED INSCRIBED PHOTOGRAPH - HFSID 296356
AMANDA "MISS KITTY" BLAKE - DOCUMENT SIGNED - HFSID 255566
JOHN RAITT - ORIGINAL ART SIGNED WITH CO-SIGNERS - HFSID 298373
AMANDA "MISS KITTY" BLAKE - AUTOGRAPHED SIGNED CHECK 04/01/1970 - HFSID 257563
AMANDA "MISS KITTY" BLAKE - AUTOGRAPH - HFSID 251663
BORIS KARLOFF - CONTRACT SIGNED 11/24/1948 WITH CO-SIGNERS - HFSID 68335
BORIS KARLOFF - CONTRACT SIGNED 11/02/1951 - HFSID 158318
MARTIN & LEWIS - CONTRACT SIGNED 12/08/1955 WITH CO-SIGNERS - HFSID 275004
GEORGE D. CUKOR - CONTRACT SIGNED 04/10/1936 WITH CO-SIGNERS - HFSID 278962
NICOLAS CAGE - CONTRACT SIGNED 05/07/1993 - HFSID 280875
BASIL RATHBONE - CONTRACT SIGNED - HFSID 281398
MICHAEL LANDON - CONTRACT SIGNED 03/27/1974 - HFSID 263136
JAMES "JIMMY" STEWART - CONTRACT SIGNED 08/09/1938 - HFSID 177566
GLENN FORD - CONTRACT SIGNED 04/18/1953 - HFSID 77425
DIANA HALE - CONTRACT SIGNED 11/01/1976 - HFSID 282838


text:
← Giants do everything right, stomp Panthers 36-7
Survivor XXV premiere thoughts →
Penn State dispatches Temple 24-13 behind McGloin's 318
Posted on September 24, 2012 by Aaron Yorke
Despite being hampered by penalties all afternoon, Penn State defeated Temple once again on Saturday 24-13. Temple quarterback Chris Coyer was shaky all day, throwing for only 124 yards with a 50% completion rate. Meanwhile, Penn State's Matt McGloin made all the plays he needed to in the passing game in addition to running for two touchdowns. The Lions led the game 24-6 until a late fourth quarter Temple drive resulted in the Owls scoring their only touchdown of the game.
This weekend's Penn State win wasn't the most exciting thing in the world, but victories can't be taken for granted these days. Here's what you should know about the Lions' triumph:
Penn State committed nine penalties, resulting in 100 penalty yards
Ouch. That's over 10 yards per penalty, so you know a bunch of them had to be major infractions. I'm not one to complain about officiating (that often), but I feel like Penn State got hit with a bunch of fringe calls that allowed Temple to stay in the game for longer than it should have. On one drive in the second quarter, Penn State had a big gain in Temple territory called back because of an off-the-ball offensive pass interference call. On the next play, the Lions appeared to gain most of the yardage back only to get hit by a dubious holding penalty. Instead of moving inside the opponent's 20-yard line, Penn State was pushed back past midfield and forced to punt.
Early in the third quarter, Temple was able to get great field position because of a supposed late hit on a punt return that looked perfectly clean. Later in the third, kicker Sam Ficken got flagged for a late hit out of bounds when he barely got a piece of Temple kick returner Matt Brown. There was a specific point when I felt Penn State got away with illegal contact on a Coyer throw to the endzone, but when you add everything up, it seemed the Lions got the short end of the stick regarding the penalties that were called.
Matt McGloin threw for a career-high 318 passing yards
Yeah, I was also surprised that 318 was a career high for McGloin. Last season, his totals were low across the board because of the old administration's insistence that the fans suffer through a handful of Bolden throws each game. In 2010, I remembered McGloin having big games against Michigan and Northwestern, but he only threw for 250 and 225 yards, respectively, in each of those games. Turns out that McGloin threw for 315 yards in the win over Indiana that season, which was his previous career high.
McGloin looked pretty sharp all afternoon. He used a lot of crossing routes to extend drives and spread the ball around better than he has done in his previous starts this season. Favorite targets Allen Robinson and Kyle Carter caught five balls each, while Mike Zordich, Alex Kenney, Matt Lehman and Brandon Moseby-Felder all caught between two and four passes each. The biggest play of the game for McGloin came on a 4th and 5 from the Temple 41-yard line late in the first quarter. He patiently waited for Robinson to lose his man and then hit the sophomore wide receiver 15 yards down the field just as a defender closed in for the sack. Robinson evaded a pair of defenders to reach the endzone and give Penn State a 7-0 lead.
Curtis Dukes didn't play in the game
A part of the reason why McGloin threw for so many yards is because Penn State's halfback combo of Mike Zordich and Zach Zwinak did not possess much breakaway speed. After the game, head coach Bill O'Brien said that Dukes had a thigh injury and that he was only going to see the field if the other backs weren't effective. That turned out not to be the case, as Zordich and Zwinak combined for 169 yards rushing and just over 5.0 yards per carry. Not bad for the fourth and fifth guys on the depth chart.
Temple head coach Steve Addazio's poor clock management at the end of the first half was a gift for PSU
Nothing drives me up a wall faster than ultra conservative play calling, so I suppose it's a good thing I'm not a Temple fan (although the pre-O'Brien era at Penn State was rife with this as well). With Temple backed up on its own seven-yard line with 1:46 remaining in the half, Addazio decided to run the ball into the pile and go into the half down 7-3. The problem with that was that Penn State had all three time outs remaining and did not allow much time to run off the clock.
After three fruitless runs and a poor punt by Brandon McManus, Penn State took over at the Temple 35-yard line with over a minute remaining. It only took three play for the Lions to reach the endzone and instead of a 7-3 halftime score it was 14-3. Who knows what would have happened if Addazio took a chance and tried to advance on that final drive? Even a pick six would have only been equally as bad a result as what actually happened to the Owls at the end of the half.
Sam Ficken made all of his kicks
It's not much, but it's worth mentioning because I'm guessing at least one more Penn State football game this season will come down to Ficken's leg. The sophomore made all three of his extra points as well as a 21-yard chippy that put the game out of reach in the fourth quarter.
You can follow me on Twitter @apy5000 for more fun stuff.
This entry was posted in Big Ten Football, Penn State Football and tagged Allen Robinson, Brandon McManus, Chris Coyer, Curtis Dukes, Kyle Carter, Matt McGloin, Michael Zordich, Sam Ficken, Temple Football, Zach Zwinak. Bookmark the permalink.


The American Bar Association defines the power of attorney as a legal document that grants person/s with the power to act on your behalf, especially regarding decisions that involve your finances and medical treatments. From a general power of attorney to health care power of attorney, it's best to get legal help and have all these sorted out.
If you've just been diagnosed with an incurable disease, it makes sense to start putting your finances in order. That includes designating a power of attorney in preparation for the future. When your mental faculties are compromised and you can no longer make decisions for yourself, that power of attorney will ensure your trustee will take care of your estate. So reach out to a power of attorney lawyer then.
If you're undergoing a high-risk surgery, consider asking an experienced Deerfield Power of Attorney Lawyer to designate a power of attorney to the beneficiary or trustee of your choice. That way, if something happens, you know your estate is in good hands.
If you run your business and have no medical or economic concerns, designating a power of attorney is still a good idea. That's because accidents can come out of nowhere. If something does happen, your trustee will make sure any instructions regarding the running of your business is followed and executed.
By reaching out to an attorney, you can take steps to ensure your future interests and those of your loved ones and employees. So whether you need one or not, consult with a power of attorney lawyer before it's too late.


text:
Ghostbusters watch/read/play order
Discuss the Ghostbusters Comic from IDW, as well as the now defunct Ghostbusters: Legion series.
Ghostbusters watch/read/play order#4830415
By SPACEHERO55 - April 1st, 2015, 10:10 pm - Posts: 3
- April 1st, 2015, 10:10 pm #4830415
I'd like some help. I am looking for a simple, but comprehensive guide on the watching/reading/playing order of Ghostbusters media. The continuity I am interested is the 2 movies , the video game and all the IDW comics and that's it, nothing else. Not the cartoons or any other comics not done by IDW. I am including all One Shots and miniseries done by IDW. As well as Volumes 1 and 2 of the ongoing series
Did IDW publish anything that takes place between Ghostbusters 1 and 2? What is the watch/read/play order of all this?
SPACEHERO55
Joined: April 1st, 2015, 6:41 pm
Location: High Springs, FLORIDA
Re: Ghostbusters watch/read/play order#4830426
By mrmichaelt - April 2nd, 2015, 1:51 am - Posts: 3001
- April 2nd, 2015, 1:51 am #4830426
It's pretty straightforward
1) The 2 movies
2) The Video Game (note things are cherry picked from any version so the IDW version of the events of the game are different)
3) The Other Side 4 issue mini
4) Displaced Aggression 4 issue mini
5) Past Present and Future one shot
6) Tainted Love one shot
7) Con-Volution one shot
8 What in Samhain Just Happened?! one shot
9) Guess What's Coming to Dinner? short story in Haunted Holidays trade
10) Ghostbusters: Infestation 2 issue mini
11) Ghostbusters Volume 1 Issue 1-16
*Note the back up story in Issue 1 takes place before the main story
*Note the back up story in Issue 8 is before the movies
*Note the back up stories in Issue 9-13 canonically take place after main story in Issue 11
*Note technically there are scenes in Volume 2 Issue #6 from Janine's memories. One specifically takes place between scenes in the first movie.
13) TMNT/Ghostbusters 4 issue mini
14) [starting in June] Ghostbusters Get Real 4 issue mini
Times Scare, X-Files Conspiracy, Mars Attacks The Real Ghostbusters are non-canon. Skip them.
No, nothing published that takes place between the two movies.
By Kingpin - April 2nd, 2015, 2:23 am - Posts: 13064
I'd heavily recommend skipping "The Other Side", easily the poorest non-crossover of IDW's Ghostbusters series in both art and story. You actually don't lose anything from the plots of the later series by not reading it.
By SPACEHERO55 - April 2nd, 2015, 10:30 am - Posts: 3
- April 2nd, 2015, 10:30 am #4830445
Oh thank you guys so much. This is a HUGE! help. Oh I forgot to mention I bought Sanctum of Slime on my PS3 a long time ago and I had forgotten that I did, where does that game fit in?
Again thank you so much.
By philmorgan81 - April 2nd, 2015, 11:17 am - Posts: 1106
Sanctum of Slime takes place in 2010 so it will take place after how long the IDW Comics decide to go.
philmorgan81
By Rodimus - April 2nd, 2015, 2:24 pm - Posts: 494
- April 2nd, 2015, 2:24 pm #4830457
Which one is Times scared?
Rodimus
Joined: October 11th, 2008, 7:45 pm
By philmorgan81 - April 2nd, 2015, 2:48 pm - Posts: 1106
Times Scare was a small comic book that I think it was available at the Cons. The cover looks the same as Cover A of Issue one of The Other Side Comic. I found it on ebay, because I almost am never able to go to the Cons. It is a nice short story of them dealing with Ghost Gangsters in a toy store.
By mrmichaelt - April 2nd, 2015, 9:26 pm - Posts: 3001
Well...yeah. The ongoing only references as far back as Displaced Aggression and technically something brought up in the Other Side pops up in the ongoing but you don't have to have read Other Side to understand it.
Oh thank you guys so much. This is a HUGE! help.
I forgot to mention, in Volume 2 of the ongoing - the back up stories in #7 and #8 chronologically should be read before #9 and the back up in #10 takes place before #9. And in #11 and #12, the back ups are before #13. Yeah, it's fun to work it all out from a chronological standpoint.
Yeah, I think Erik Burnham (writer of the Infestation mini, ongoing, TMNT mini etc.) noted a few times that Sanctum of Slime is at least a possible end point for the IDW continuity since the script writer of that game is Tom Waltz - editor of the GB comic. Plus they introduced one of the SOS stars as a child at the start of the ongoing comic and the mother of another at the end of Volume 2. Don't want to spoil you on who.
By SPACEHERO55 - April 2nd, 2015, 9:31 pm - Posts: 3
Wait that whole back up stories thing is confusing. It's all convoluted. do the books indicate that these might be flashbacks or whatever?
By mrmichaelt - April 3rd, 2015, 5:51 am - Posts: 3001
- April 3rd, 2015, 5:51 am #4830489
Yeah, most or all do have some indication of when they happen. Even if it didn't, you can easily put two and two together, imo.
Return to "Ghostbusters Comic Books"


text:
HomeQJ.NETWiiWii launch at midtown Atlanta EB: "organized and calm"
Wii launch at midtown Atlanta EB: "organized and calm"
So the Wii was already launched, and you might have thought all hell would break loose. There was this mental image in my head where throngs of people governed by their Wii-wanting instincts would stampede to their local game retailers come midnight. After all, the PS3 launch wasn't that quiet, so expecting Wii-crazed fans to arrive in droves is not exactly wishful thinking.
But Flynn de Marco's Wiixperience in Midtown Atlanta EB proved me wrong.
He and his buddies arrived at the store at 11:30 p.m., but around 11:45 p.m., the doors were opened, and they were greeted by a Link-garbed-female-employee.
He says that the "mood was upbeat and friendly as everyone was very excited to get their Wiis" and "it was very organized and calm with people waiting their turns and being very nice to each other." Wow. Isn't that amazing or what?
We're glad that things went smoothly there. Interestingly, some people attribute the "peaceful launch" to the availability of the console, as opposed to the PS3, which came in limited stocks only.
Wii Love Bomberman Land!
Marvel Ultimate Alliance: Alternate costumes and multicolored spandex
Ubisoft's Guillemot says "Christmas is important" (no, duh…)


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text:
Kim Davis is an American corporate executive, currently serving as a vice-president with the NHL.

Career
Davis graduated from Spelman College in Atlanta in the late 1970s with a degree in economics.

Beginning in 1991, Davis worked as a director for JPMorgan Chase, including serving as president of the JPMorgan Chase Foundation. In 1995, she became the first African American woman to be promoted to a senior vice president position at the bank. After over twenty years with the company, she would leave JPMorgan to become Senior Managing Director at Teneo.

In December 2017, she began a new role as Executive Vice President, Social Impact, Growth Initiatives & Legislative Affairs for the National Hockey League, with a particular impact in improving diversity within the league. In 2020, the NHL announced the formation of its Executive Inclusion Council.

References

Living people
African-American sports executives and administrators
African-American women in business
Spelman College alumni
Women ice hockey executives
National Hockey League executives
JPMorgan Chase employees
Year of birth missing (living people)

redpajama_set_name: RedPajamaWikipedia


text:
Rethinking costs of psoriasis: 10% of patients account for nearly 40% of healthcare expenditures among enrollees with psoriasis in a U.S. health plan
April W. Armstrong, Yang Zhao, Vivian Herrera, Yunfeng Li, Tim Bancroft, Michael Hull, Aylin Altan
Objective: To examine characteristics, healthcare utilization and costs among patients with psoriasis who have high medical costs. Methods: This is a retrospective study of patients with psoriasis with continuous enrollment from 1 January 2011 to 31 December 2013 in a large US health plan. Total paid 2012 healthcare costs excluding biologics (to identify costliest not due to biologic costs) were used to create cohorts representing the top 10% (T10) and bottom 90% (B90) of expenditures. Demographics, comorbidities, prescriptions, all-cause and psoriasis-related healthcare utilization and costs were compared between cohorts. Logistic regression identified demographic and clinical characteristics associated with the 2012 T10 cohort status. Results: 18,653 patients (mean age 48 years; 49% female) were included. Patients in the T10 group accounted for 26% (2011), 39% (2012) and 26% (2013) of all-cause costs including biologics and 13% (2011), 18% (2012) and 11% (2013) of psoriasis-related costs. Mean 2012 total costs were $58,030 for T10 vs. $10,295 for B90 (all-cause) and $10,475 vs. $5301 (psoriasis-related). T10 patients in 2012 filled more prescriptions and were more likely to use corticosteroids (57% vs. 31%); however, biologic use and costs were similar (any use: 23% vs. 24%; prescriptions: 1.5 vs. 1.7, biologic costs: $4959 vs. $5095). Compared with B90 patients, T10 patients were more likely to have hospitalizations (all-cause: 45% vs. 3%; psoriasis-related: 14% vs. 1%) and ER visits (all-cause: 53% vs. 21%; psoriasis-related: 3% vs. 1%), and more likely to have renal disease (odds ratio (OR) = 2.05), depression (OR =1.96), cardiovascular disease (OR =1.88), psoriatic arthritis (OR =1.57) and diabetes (OR =1.50) (all p < .05). Conclusions: The T10 patient cohort in 2012 accounted for nearly 40% of overall healthcare expenditures. However, cost differences between the T10 and B90 patients were not attributable to psoriasis-related biologic treatment utilization and costs. The T10 patients had significantly more inpatient and emergency utilization, and comorbid medical conditions.
Journal of Dermatological Treatment
Accepted/In press - Mar 20 2017
biologic medications
healthcare utilization
Fingerprint Dive into the research topics of 'Rethinking costs of psoriasis: 10% of patients account for nearly 40% of healthcare expenditures among enrollees with psoriasis in a U.S. health plan'. Together they form a unique fingerprint.
Health Expenditures Medicine & Life Sciences
Psoriasis Medicine & Life Sciences
Costs and Cost Analysis Medicine & Life Sciences
Health Care Costs Medicine & Life Sciences
Prescriptions Medicine & Life Sciences
Armstrong, A. W., Zhao, Y., Herrera, V., Li, Y., Bancroft, T., Hull, M., & Altan, A. (Accepted/In press). Rethinking costs of psoriasis: 10% of patients account for nearly 40% of healthcare expenditures among enrollees with psoriasis in a U.S. health plan. Journal of Dermatological Treatment, 1-10. https://doi.org/10.1080/09546634.2017.1303566
Rethinking costs of psoriasis : 10% of patients account for nearly 40% of healthcare expenditures among enrollees with psoriasis in a U.S. health plan. / Armstrong, April W.; Zhao, Yang; Herrera, Vivian; Li, Yunfeng; Bancroft, Tim; Hull, Michael; Altan, Aylin.
In: Journal of Dermatological Treatment, 20.03.2017, p. 1-10.
Armstrong, AW, Zhao, Y, Herrera, V, Li, Y, Bancroft, T, Hull, M & Altan, A 2017, 'Rethinking costs of psoriasis: 10% of patients account for nearly 40% of healthcare expenditures among enrollees with psoriasis in a U.S. health plan', Journal of Dermatological Treatment, pp. 1-10. https://doi.org/10.1080/09546634.2017.1303566
Armstrong AW, Zhao Y, Herrera V, Li Y, Bancroft T, Hull M et al. Rethinking costs of psoriasis: 10% of patients account for nearly 40% of healthcare expenditures among enrollees with psoriasis in a U.S. health plan. Journal of Dermatological Treatment. 2017 Mar 20;1-10. https://doi.org/10.1080/09546634.2017.1303566
Armstrong, April W. ; Zhao, Yang ; Herrera, Vivian ; Li, Yunfeng ; Bancroft, Tim ; Hull, Michael ; Altan, Aylin. / Rethinking costs of psoriasis : 10% of patients account for nearly 40% of healthcare expenditures among enrollees with psoriasis in a U.S. health plan. In: Journal of Dermatological Treatment. 2017 ; pp. 1-10.
@article{963363bb18f44157b2a00dd1808907d9,
title = "Rethinking costs of psoriasis: 10% of patients account for nearly 40% of healthcare expenditures among enrollees with psoriasis in a U.S. health plan",
abstract = "Objective: To examine characteristics, healthcare utilization and costs among patients with psoriasis who have high medical costs. Methods: This is a retrospective study of patients with psoriasis with continuous enrollment from 1 January 2011 to 31 December 2013 in a large US health plan. Total paid 2012 healthcare costs excluding biologics (to identify costliest not due to biologic costs) were used to create cohorts representing the top 10% (T10) and bottom 90% (B90) of expenditures. Demographics, comorbidities, prescriptions, all-cause and psoriasis-related healthcare utilization and costs were compared between cohorts. Logistic regression identified demographic and clinical characteristics associated with the 2012 T10 cohort status. Results: 18,653 patients (mean age 48 years; 49% female) were included. Patients in the T10 group accounted for 26% (2011), 39% (2012) and 26% (2013) of all-cause costs including biologics and 13% (2011), 18% (2012) and 11% (2013) of psoriasis-related costs. Mean 2012 total costs were $58,030 for T10 vs. $10,295 for B90 (all-cause) and $10,475 vs. $5301 (psoriasis-related). T10 patients in 2012 filled more prescriptions and were more likely to use corticosteroids (57% vs. 31%); however, biologic use and costs were similar (any use: 23% vs. 24%; prescriptions: 1.5 vs. 1.7, biologic costs: $4959 vs. $5095). Compared with B90 patients, T10 patients were more likely to have hospitalizations (all-cause: 45% vs. 3%; psoriasis-related: 14% vs. 1%) and ER visits (all-cause: 53% vs. 21%; psoriasis-related: 3% vs. 1%), and more likely to have renal disease (odds ratio (OR) = 2.05), depression (OR =1.96), cardiovascular disease (OR =1.88), psoriatic arthritis (OR =1.57) and diabetes (OR =1.50) (all p < .05). Conclusions: The T10 patient cohort in 2012 accounted for nearly 40% of overall healthcare expenditures. However, cost differences between the T10 and B90 patients were not attributable to psoriasis-related biologic treatment utilization and costs. The T10 patients had significantly more inpatient and emergency utilization, and comorbid medical conditions.",
keywords = "biologic medications, healthcare costs, healthcare utilization, Psoriasis",
author = "Armstrong, {April W.} and Yang Zhao and Vivian Herrera and Yunfeng Li and Tim Bancroft and Michael Hull and Aylin Altan",
journal = "Journal of Dermatological Treatment",
T1 - Rethinking costs of psoriasis
T2 - 10% of patients account for nearly 40% of healthcare expenditures among enrollees with psoriasis in a U.S. health plan
AU - Armstrong, April W.
AU - Zhao, Yang
AU - Herrera, Vivian
AU - Li, Yunfeng
AU - Bancroft, Tim
AU - Hull, Michael
AU - Altan, Aylin
N2 - Objective: To examine characteristics, healthcare utilization and costs among patients with psoriasis who have high medical costs. Methods: This is a retrospective study of patients with psoriasis with continuous enrollment from 1 January 2011 to 31 December 2013 in a large US health plan. Total paid 2012 healthcare costs excluding biologics (to identify costliest not due to biologic costs) were used to create cohorts representing the top 10% (T10) and bottom 90% (B90) of expenditures. Demographics, comorbidities, prescriptions, all-cause and psoriasis-related healthcare utilization and costs were compared between cohorts. Logistic regression identified demographic and clinical characteristics associated with the 2012 T10 cohort status. Results: 18,653 patients (mean age 48 years; 49% female) were included. Patients in the T10 group accounted for 26% (2011), 39% (2012) and 26% (2013) of all-cause costs including biologics and 13% (2011), 18% (2012) and 11% (2013) of psoriasis-related costs. Mean 2012 total costs were $58,030 for T10 vs. $10,295 for B90 (all-cause) and $10,475 vs. $5301 (psoriasis-related). T10 patients in 2012 filled more prescriptions and were more likely to use corticosteroids (57% vs. 31%); however, biologic use and costs were similar (any use: 23% vs. 24%; prescriptions: 1.5 vs. 1.7, biologic costs: $4959 vs. $5095). Compared with B90 patients, T10 patients were more likely to have hospitalizations (all-cause: 45% vs. 3%; psoriasis-related: 14% vs. 1%) and ER visits (all-cause: 53% vs. 21%; psoriasis-related: 3% vs. 1%), and more likely to have renal disease (odds ratio (OR) = 2.05), depression (OR =1.96), cardiovascular disease (OR =1.88), psoriatic arthritis (OR =1.57) and diabetes (OR =1.50) (all p < .05). Conclusions: The T10 patient cohort in 2012 accounted for nearly 40% of overall healthcare expenditures. However, cost differences between the T10 and B90 patients were not attributable to psoriasis-related biologic treatment utilization and costs. The T10 patients had significantly more inpatient and emergency utilization, and comorbid medical conditions.
AB - Objective: To examine characteristics, healthcare utilization and costs among patients with psoriasis who have high medical costs. Methods: This is a retrospective study of patients with psoriasis with continuous enrollment from 1 January 2011 to 31 December 2013 in a large US health plan. Total paid 2012 healthcare costs excluding biologics (to identify costliest not due to biologic costs) were used to create cohorts representing the top 10% (T10) and bottom 90% (B90) of expenditures. Demographics, comorbidities, prescriptions, all-cause and psoriasis-related healthcare utilization and costs were compared between cohorts. Logistic regression identified demographic and clinical characteristics associated with the 2012 T10 cohort status. Results: 18,653 patients (mean age 48 years; 49% female) were included. Patients in the T10 group accounted for 26% (2011), 39% (2012) and 26% (2013) of all-cause costs including biologics and 13% (2011), 18% (2012) and 11% (2013) of psoriasis-related costs. Mean 2012 total costs were $58,030 for T10 vs. $10,295 for B90 (all-cause) and $10,475 vs. $5301 (psoriasis-related). T10 patients in 2012 filled more prescriptions and were more likely to use corticosteroids (57% vs. 31%); however, biologic use and costs were similar (any use: 23% vs. 24%; prescriptions: 1.5 vs. 1.7, biologic costs: $4959 vs. $5095). Compared with B90 patients, T10 patients were more likely to have hospitalizations (all-cause: 45% vs. 3%; psoriasis-related: 14% vs. 1%) and ER visits (all-cause: 53% vs. 21%; psoriasis-related: 3% vs. 1%), and more likely to have renal disease (odds ratio (OR) = 2.05), depression (OR =1.96), cardiovascular disease (OR =1.88), psoriatic arthritis (OR =1.57) and diabetes (OR =1.50) (all p < .05). Conclusions: The T10 patient cohort in 2012 accounted for nearly 40% of overall healthcare expenditures. However, cost differences between the T10 and B90 patients were not attributable to psoriasis-related biologic treatment utilization and costs. The T10 patients had significantly more inpatient and emergency utilization, and comorbid medical conditions.
KW - biologic medications
KW - healthcare costs
KW - healthcare utilization
KW - Psoriasis
JO - Journal of Dermatological Treatment
JF - Journal of Dermatological Treatment


Greece in the beginning of the 1990s lost many opportunities to resolve the thorny issue of the name of Macedonia, Greek high-ranking official said Sunday.
Health Minister Dimitris Avramopoulos made the statement at the two-day conference entitled "Greece-Macedonia: The Causes of the Crisis and Greece's Position after the Bucharest Summit – Possible Solution, Prospects", organized by the ruling New Democracy party.
Avramopoulos, a former Athens mayor and career diplomat, stressed that Greece in the beginning of the 1990s should have accepted the name "Slavo-macedonia" for the then newly-emerged state to its immediate north.
"We have lost 10 years," the Greek Health Minister said at the conference.


I am a geologist and planetary scientist interested in mineral explanation (on any planet) and the relationship between geology, mineralogy and life.
These pages contain information about my research interests, publications, and teaching at the University of Hong Kong where I am an associate professor in the department of Earth Sciences and Deputy Director of the Laboratory for Space Research.
Prior to moving to Hong Kong, I was a Research Leader at the Natural History Museum in London, United Kingdom where I lived for six great years.
After leaving the Jet Propulsion Laboratory in 2007, I spent nearly 4 years working with the Institut d'Astrophysique Spatiale at the Université de Paris - Sud.
I carried out my graduate studies at Arizona State University between 2000 and 2005, working with Drs. Tom Sharp, Phil Christensen, and Stephen Reynolds.


John Matthew Richen has been a professional sculptor since graduating from Oregon State University in 1970. His expertise in metal fabrication brought him immediate acknowledgement from the international art world. In the late 90's he designed his studio in the California Desert in a small peaceful community that provides year round work conditions and inspiration from the variety of landscapes. In addition to bronze, stainless steel and aluminum, this innovative sculptor also incorporates Cor-ten steel, granite, fused glass, water and lighting into selected works.
"I strive to create art that will endure, educate and enrich humankind. Metal is fluid and reflective and the medium's strength allows me to work in any scale."


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portfolio
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My ePortfolio


It's time to dust off an old idea of Jiad's and call people who are in the middle of having yard sales to give them our various grievances. This episode is brought to you by five of the best sponsors we could possibly have – Je55ical, The Real Krazy Kraz, JT, TokeusPocus, and Simspeak.
Jack Helliquinn was on the PLA call-in show yesterday. Watch that here. and visit Jack's Facebook and his YouTube.
Mr. Biggs and Roger will be doing a live call-in show this Wednesday, August 1st, at 5pm Pacific / 8pm Eastern. Listen on their YouTube or their website.


Free on-site parking. To access our elevator, follow the handicap-accessible sidewalk ramp to the left of the store entrance.
Room & Board Atlanta is in the Westside Provisions District in a beautifully remodeled historic building. Explore three floors of rooms filled with our modern furniture and home decor, where our Design Associates are experts at integrating pieces into Atlanta homes. A 2017 Best of Atlanta award winner and a 2019 Fast Company Most Innovative Company in retail, your whole family (pets, too!) will love visiting our modern furniture store. Our back patio is the perfect spot to not only get a taste of Room & Board outdoor furniture, but also cold treats from nearby Jeni's Splendid Ice Creams. Kids love watching the trains pass under the footbridge. Stop by Room & Board Atlanta today to find the modern home design inspiration you've been looking for.
Tuesday – Friday 9 a.m. – 4 p.m.


This page has been created for the attendees of the Influencer Track at IFS World Conference 2018.
The content on this microsite will only be temporarily available, so hyperlinks in any content you publish are best directed to the main product & solution pages on www.ifsworld.com. The resources aim to provide you with extra background on the news that is announced, products that are being demoed and spokespeople you will meet.
If you need any additional information or have a specific request, please get in touch with the communications team at IFS by emailing press@ifsworld.com.
Don´t forget to follow us on Social Media. During IFS World Conference we will provide you with the latest happenings in our different channels. Don't miss this opportunity.


Dr. Mago does not participate in any insurance, so all services are paid for on the day of the visit. We accept cash, checks, and credit or debit cards (Mastercard and Visa only). Health savings account cards (Mastercard or Visa only) can be used as well.
Credit or debit card information can be added into our electronic system, Luminello, by you. You will be invited to join Luminello when you first make an appointment to see Dr. Mago. Let Dr. Mago know right away if you have any difficulty entering the credit or debit card information.
Through your Luminello account, you can generate a billing statement for all charges and payments made. This billing statement will contain all the information that is needed including data of visit, procedure code, diagnosis, charges, payments made, Dr. Mago's information, etc.


A chance encounter between strangers sparks a life-changing nighttime adventure in New York City in Before We Go, Chris Evans' directorial debut.
Nick (Evans), is a musician who spends his days performing in Grand Central Station. It is there he meets Brooke (Alice Eve), a young married woman who finds herself stranded after her purse is stolen and she misses the last train out of the city.
Starting out as convenient acquaintances, the two soon embark on a journey together, growing closer as they confront their past loves and present fears, and take control of their lives. -- (C) Search Engine Films, 2014, USA.
Starring Chris Evans, Alice Eve, Emma Fitzpatrick, Scott Evans, John Cullum, Kevin Carolan, Fenton Lawless, Mark Kassen.
DVD Release Date: December 1, 2015.


The apartment is situated right in the middle of Kaisermühlen, close Vienna International Centr and to Webster University, supermarkets, shops and restaurants. Metro U1 (Station Vienna International Center) takes you to the city center within 8 minutes and on-ramp to highway A22 is only 2 blocks away. Nearby you find wonderful places to relax like parks and beaches of Old and New Danube riverside. Balcony opens to quiet green courtyard.


Discuss various subjects such as the JTAG exploit and developing homebrew for the Xbox 360.
The 360-HQ error codes & xbox 360 repairs forum will help you find most if not all solutions to problems with the 360 Console. Our dedicated team will do their best to point you in the right directly.
Discuss all aspects of firmware mods in this forum.. For full VIP FTP Access to all of our homebrew xbox 360 apps please become a VIP MEMBER.
Topics relating to Dolby 5.1, DTS, 480p, 720p, 1080i, 1080p HDTV, Network Video/Audio Streaming for Xbox 360, DivX, XViD Codecs etc.
Talk about 360 compatible devices like: Apple IPOD, Sony PSP.. we will leave news as we find out more information.. Feel free to discuss all topics relating to compatible devices for the new 360.
Looking to buy something for your Xbox 360?? Check out what our members have reviewed recently and get involved in our Xbox 360 Hardware Discussions.


Join Sparrow Bar+Cookshop as they celebrate 20 years of Chef Monica Pope in the restaurant industry, her 50th birthday as well as the official grand opening of Sparrow - for a gospel brunch at dinner. Enter in a raffle to win a private cooking demo and dinner for you and nine guests. Attire is cocktail cool or pajamas and smoking jackets. Tickets are $125 each-and include valet parking, brunch themed dinner stations, specialty cocktails and gospel music.


what i am trying to do is, have something similar to the deskbar that Haiku OS uses.
I think they are going for something more singular/robust/replacement … akin to lattedock.
Though, I cant speak for them.
Whether its needed ? IDK, seems atleast one person wants it. Not my cup of tea.
i was looking for ways to tweak the KDE Panel at first, its halfway there, and i was wondering what is the path of the config file for this desktop arrangement.
@cscs there was a linux based distro that used this deskbar, but it was buggy.
new opened applications will have their icon below the search icon, in the empty area.
i need to have the icon with description in my upper panel. but without description for the bottom backup panel.
one KDE panel in the top right, with the settings, windows can cover.
and one slim KDE panel at the bottom with the setting, auto hide.
also i added a transparent note app , and icons positioned in the bottom left.
While used this style of taskbar when I was using BeOS and gotten used to it, if found that after Xfce for so long I have a strong dislike for it and seems to be outdated.
@whm1974, in a way BeOS/HaikuOS style, is the grandfather of modern desktop enviroments, when BeOS was launched, microsoft windows was looking awful, and macintosh DE was no better either.
Haiku has that vintage look, that you just cant find anywere else.
an update on my side project.
for symmetry, i edited the width of the panel(top right), to match the width of the notes app.
any thoughts, on what software i can use to develop this further, and how can i easily export this setup?
We dont yet know how you are implementing this; is it a script ? a package ? a theme ?
I don't know about you, but I use two panels anyway.
@cscs for now its mostly manually adjusting the panel , adding and moving icons around. testing if it would be feasible, to modify the plasma desktop into something else.
my first thought was to save/export my plasma config file, but failed.
in the future i would like to turn this into a theme/DE. using plasma as a base, or use a different programming language, and build it from scratch.
Its a setting of the notifications applet.
But I also, more importantly, found the actual config file for it.
The numeric value is 0 for default, and the rest correspond to the following table, though the GUI preferences as shown above do not include 4-6. Havent tested those.
What you might be looking to do is a look-and-feel which would automate these things that are largely settings.
Either that or a script/makefile that just automates the changes.


Sonia and Robert were frequent attendees and there is no question that her depiction was inspired by her own experience. In many cases both the design and the sample still exist, and this is the first time most of them have been photographed. Like many champions of Modernism, Sonia Delauney believed that art should be used to redecorate modern life, and that design should be truly artistic. Advances in the science of color theory had proved that perception was inconsistent among individual perceivers. Over 400 works were on display, including paintings, wall decorations, gouaches, prints, fashion items and textiles. It's a good cheap reference for perhaps the Fashion Design student interested in Deco patterning. The exciting, novel fashions of Sonia Delauney, a member of the avant-garde movement in Paris in the early twentieth century, heralded the advent of a radically new concept in clothing design.
It was there that Sonia began to work with performance arts and also opened a boutique in which she sold her clothes and interior design objects. Separated from the avant-garde, they looked for inspiration among the masters of the past and in 1915 Sonia registered as a copyist in the Museo del Prado. Additionally, we cannot open packages that are unsolicited or do not have a return address. The color scheme, similar to one she developed in her paintings, manages to encapsulate a full range, including all the primaries red, blue, and yellow and secondaries green, orange, and purple. Both artists tried to recreate the impressive glow from these new inventions in their artwork. While she is at times unjustly overshadowed by her husband in the pantheon of artists of the 21st century, in her own time she was celebrated by members of the Parisian cultural and artistic elite. The First World War demanded that women enter the workforce, and as a result, their attire had to change to accommodate their new tasks.
In 1909 she met Robert Delaunay, and together they devised a brighter version of Cubism that their friend the poet and art critic Guillaume Apollinaire termed Orphism. Apparently she and Robert were walking down the boulevard Saint-Michel when they came upon newly installed electric lamplights. The rectangular shapes diminish the fluidity of the circular shapes. Indeed, Sonia Delauney's clothing, as exalted in the poetry of Tristan Tzara and Guillaume Apollinaire, epitomized the spirit of the new age. Delaunay captures the visual rhythm created by the moving or shifting of colors, as well as their interplay across the canvas.
During this period Sonia produced paintings that are among her most important works. Like her paintings and those of her husband, she felt the quilt was a simultané or simultaneous work of art. Sonia Delaunay: Art into Fashion. Like the contemporary Orphist paintings created by her husband Robert, Sonia Delauney's designs are characterized by their vibrant colors and sharply patterned geometric collages. Her designs adorned the surfaces of her living space, covering the wall and furniture as wallpaper and upholstery. She thus became a multi-disciplinary artist, concerned to express the language of the avant-garde on the widest range of supports and making use of bright, lively colours and a range of techniques that reflect her Russian origins.
Her husband patented the fabric pattern which she first used in a collaboration with the fashion house The House of Redfern. The murals she created for this commission were well received. Like the contemporary Orphist paintings created by her husband Robert, Sonia Delauney's designs are characterised by their vibrant colours and sharply patterned geometric collages. The artist also created two works for the pavilion devoted to railroads, altogether creating a body of work celebrating the major advancements in transportation that had been made in recent years. She studied art periodically in Karlsruhe, Germany, and continued her studies at the Académie de la Palette in Paris, where the intense color palette of artists of the fauvist movement influenced her early development as a painter. From Casa Sonia, she produced her increasingly popular textiles, dresses, and home goods.
Indeed, Sonia Delauney's clothing, as exalted in the poetry of Tristan Tzara and Guillaume Apollinaire, epitomized the spirit of the new age. Separated in two phases, one from about 1910 to 1924, built around neoclassical, oriental styling, and a second one starting from 1924 to 1930, influenced by modernist touches, Art Deco design brought into fashion new prints and colours. Deprived of the living that these properties had afforded them, financial necessity encouraged Sonia to think about how she could commercialise her designs. She received a good education, had access to great art collections, and traveled Europe spending summers in Finland. Delaunay exhibited her art for the first time at his gallery and through him met many important figures in the Parisian art scene, including Pablo Picasso, Georges Braque, and her future husband, Robert Delaunay. Delaunay would produce designs, such as this one, in a number of different color combinations; beyond the present one there is a version in red and orange palette, another in blue and purple, and one in brown and tan.
Unlike previous designers, she wanted to devise the decoration for a dress at the same time as its form. Beyond the shape of the garment, Sonia also focused on the use to which an individual item of clothing would be put when she created a fabric pattern. Published for a landmark exhibition at Museo Thyssen-Bornemisza in Madrid, and drawing on new scholarship that emphasizes the multidisciplinary character of her art, it reproduces pieces loaned from public institutions such as the Centre Pompidou, the Bibliothèque nationale de France, the Musée de la Mode de Paris and the Museo Reina Sofía in Madrid, as well as from international private collections. A silk textiles manufacturer in Lyon ordered 50 fabric designs from her. In addition to her prolific 75-year painting career, she created brilliant textiles and fashion works for nearly three decades. She worked for the fashion magazines Harper's Bazaar and Vogue and the Costume Institute of the Metropolitan Museum of Art.
The Delaunays increasingly disregarded form, aiming to created rhythm, motion and depth through overlapping patches of vibrant colours. She started studying art in Karlsruhe Germany in 1904 and two years later moved to Paris to continue her training. This painting is one of a series that Sonia Delaunay made for the Exposition Internationale des Arts et Techniques dans la Vie Moderne, an international exposition that took place in Paris in 1937. The last section of 2m-long accordion-pleated book, created to illustrate Blaise Cendrars poem, La prose du Transsibérien et de la Petite Jehanne de France, 1913 Driving Hats, and a waistcoat for her husband. I was overjoyed to spend an afternoon with my muse at her in Paris, what was once her home.
They were worn by starlets Gloria Swanson and Gaby; her imaginative theatre costumes were commissioned by another great advocate of Modernism, Diaghilev, for the Bullet Russes. Both of the Delaunays began increasingly to work in media other than paint. © Pracusa 2017633 Second Madrid period and total art Madrid provides the core of this exhibition and the time Sonia Delaunay spent there resulted in a major change of direction in her career as it allowed her to put into practice the idea that Simultanism could extend to all areas of life. Le Bal Bullier exemplified Orphism perfectly by allowing the placement of color on the canvas to create both movement and energy. Delaunay combined her avant-garde experiments with the influence of Russian folk art. The fabrics incorporated a limited number of colours, and Sonia played with the striking contrasts between them.


This is my submission for the Paper Issues Sketchy Saturday. I was really glad they extended it for an extra week, as I missed it.
I had so much fun with the sketch. I took a few liberties with it- like not having journalling at the bottom and I put my title on a banner instead of beneath it, but I think I got most of the components and am really happy with how this layout turned out.
I used Studio Calico's Camelot kit for this layout except for the gold letter stickers and the gold chipboard heart, which are also studio calico. The Crate Paper Frames are also from an older Studio Calico kit from 2013. I also used a few tags and a label from my stash and my trusy Dymo.
The title is my favourite part! I used the pink tulle and ruffled it along the top of the page. I then cut a banner with white cardstock and used some gold letters stickers for my title. I added a little jewellery tag with some dymo tape for part of the title and attached it with a Studio Calico gold clothes pin.
I finished it off with placing a few pink sequins from Studio Calico;s Atlantic line in the layers of the tulle. They perfectly matched the tulle!
Instead of just a few starts, I made a banner of starts stretching across my entire page. I placed a few gold polka dot chipboard hearts that came in an older Studio Calico kit and a jewellery tag with a gold chipboard heart. If my sewing machine was working, I would definitely have sewn across the banner as I love how that looks.
The only chipboard frames I had left were blue, so I painted them with gold acrylic paint. I love the way they turned out.
One of the frames I did half in gold embossing powder. I really, really love the way this one turned out.
I can't wait for the next Sketchy Saturday. It's so fun to see how everyone interprets the sketch and it's a fun push creatively.
Oh my! This is so, so good! Love all the gold accents and how you made the sketch your own.


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Chess Go Spinny
2021 World Championship Match, Game 1
With the qualification for the 2022 World Championship match in full swing, it might have been easy to overlook that the match scheduled for 2020 hadn't actually yet been played. But now it has finally started, as Ian Nepomniachtchi becomes the fourth person to try to defeat Magnus Carlsen in a world championship match.
While the 73-point rating gap in Carlsen's favour suggests that he is the strong favourite - 538's calculations give him something like a 5/6 chance of winning the match outright - Nepomniachtchi is a much improved player over the past few years, and can take heart from the fact that he is one of the few active players with a plus score against Carlsen.
The first game was a rather cautious affair, although quite interesting for those of us who like subtle endgame battles. Carlsen sacrificed a pawn early on for nagging endgame pressure, and a lesser player than Nepomniachtchi could easily have crumbled; instead, he managed to hold on for a draw. If the remaining 13 games are as tightly-fought as this one, it will be an intriguing match.
Annotated Games Carlsen Nepomniachtchi World Championship
Northumbria Masters, 26-30 August
It's been a busy month for title-norm tournaments in England, and after the events in the South-East and the Midlands , it was now the opportunity of the North to see what it could do, and this arrived in the shape of the Northumbria Masters in Newcastle, organized by Tim Wall. Unlike the previous two events, which were small tournaments with just ten players in total, this was a full chess festival; not only did it have two title-norm all-play-alls, it also had four other nine-round Swiss sections, in which a total of 191 players played. Both the all-play-alls yielded title norms. The winners of the GM norm section are names that readers of this blog should find familiar: Conor Murphy and Ravi Haria, winners of Muswell Hill and Wood Green respectively. They both picked up GM norms; Ravi's is his third and final norm, and he just needs to get his rating up to 2500 to get the title. The other norm-seeker to get one in the section was Callum Kilpatrick, who got his final IM no
4NCL Congress, 9-11 July 2021
So it turns out congress chess has started to make a return, in the shape of the long-running series of 4NCL Congresses . The 25th such event was held in Leamington Spa over the past weekend, and attracted a total entry of 130 entrants across 3 sections. Among the entrants were three grandmasters, Nigel Davies, Keith Arkell and Peter Wells, but none of those players actually won the Open section. First place was instead shared by two strong young players, FM Jonah Willow (19) and CM Aaravamudhan Balaji (16), with 4½/5. Balaji's performance was especially impressive, including a win against Wells and a draw against Arkell on his way to a rating gain of 67.2 points. Arkell finished third on 4 points. I've annotated three of the games; thank you to Jonathan Tait for giving help on how to display them.
The Muswell Hill International, 9-13 August
In the latest sign of normality possibly beginning to return to the chess world, a title-norm all-play-all has just taken place in Muswell Hill, London. Many congratulations to Adam Raoof on being able to organize it, and to the tournament's joint winners, Maciej Czopor and Conor Murphy, on not only winning the tournament but also clearing the IM norm requirements by half a point. Conor Murphy also won the brilliancy prize for his round 8 win against Alexander Cherniaev (among the annotated games below). This is Conor Murphy's third norm, and he has already achieved the 2400 rating, so he should soon be granted the IM title. 1 2 3 4 5 6 7 8 9 10 Total 1 FM Czopor Maciej 2376 Poland * ½ 1 ½ ½ 1 1 ½ 1 1 7 2 FM Murphy Conor E 2382 Ireland ½ * ½ ½ 1
Pets mean prizes
Great Players: Tassilo von Heydebrand und der Lasa
There are some openings I really shouldn't play
2021 Grand Swiss, Round 11
2021 Grand Swiss, Round 9
All-Play-Alls
Anderssen
Barnstaple Chess Club
British Championship
Grand Swiss
International Swisses
La Bourdonnais
Manx Liberty Masters
McDonnell
Menchik
Muswell Hill International
Northumbria Masters
Stafford Masters
Title Norm Tournaments
Torre Repetto
von der Lasa
Weekend Congresses
Women's Chess


text:
using System.Collections.Generic;
using System.Threading.Tasks;

namespace Carbon.Platform.Environments
{
    public interface IEnvironmentProgramService
    {
        Task<IReadOnlyList<EnvironmentProgram>> ListAsync(IEnvironment environment);

        Task<EnvironmentProgram> CreateAsync(CreateEnvironmentProgramRequest request);
    }
}