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How the 3 Best Fashion Luxury Brands Activate Their Employer Brand
Post author By Carolien Daalderop
https://pixabay.com/en/louis-vuitton-bag-fashion-watch-2628969/
We've all heard of them: Louis Vuitton, Burberry and Chanel. Three massive fashion luxury brands. Three huge consumer brands. But what about their employer brand?
Let's explore their unique takes on employer brand, and how they utilize employer brand in tandem with their ever-popular consumer brand.
1. Louis Vuitton
The fashion house and luxury retail company was founded in 1854 by Louis Vuitton. The label's LV monogram appears on most of its products, ranging from luxury trunks and leather goods to ready-to-wear, shoes, watches, jewelry, accessories, sunglasses and books.
For the 12th year in a row LVMH figures first among French students at business and management schools, according to Universum. This ranking is the result of a dynamic and innovative human resources policy that actively engages with young talents. These results confirm the attractiveness of the LVMH Group and its Maisons, recognizing the effectiveness of our recruitment and talent development policy. Over 200 events were held in 2016 to engage with students.
Journey to the heart of exceptional watchmaking and relive highlights of Baselworld 2018 in a best of video.#Bulgari #Hublot #TAGHeuer #ZenithWatcheshttps://t.co/9vy4GKRRQi pic.twitter.com/jrVOtdbe0h
— LVMH (@LVMH) April 4, 2018
When we take a look at the Louis Vuitton careers page, there's an overload of information about the fashion house. Visually the careers website is very attractive, with separate chapters, supported by loads of visuals, which is always a plus!
2. Burberry
The British luxury fashion house is headquartered in London, England. Last year Christopher Bailey decided to leave Burberry, which was shocking for the fashion industry. But now the new Burberry CEO Marco Gobbetti wants to take the brand upscale and totally go against its history and traditions. Repositioning a 161-year-old business with so much history seems impossible. The Burberry brand is kind of royal, since the trenches were worn during the First World War by British soldiers, and the house was granted Royal Warrants by the queen.
'I have always loved the trench; its English history and timeless quality.' – Jack Borkett . Hebe wears The Westminster in classic honey with a graffiti-print silk scarf . Styled by Jack Borkett for #Burberry. Captured in a new #BurberryPhotoSeries by Thurstan Redding. The #TrenchReimagined
A post shared by Burberry (@burberry) on Apr 5, 2018 at 10:59am PDT
Besides being an 'old' brand, Burberry keeps up to date on social media, especially Instagram, where they have an astonishing 11.2 million followers. Just like its other high-end competitors, Burberry is using its account to post (backstage) pictures from campaigns, fashion shows, shoots and more.
On the careers page, the Burberry heritage is very present, but you can also find a sustainable future vision for 2022. Despite that the "working at Burberry" section is a bit plain and sometimes not structured logically, you can still find all the information you want.
One of the most popular brands of all time, ever since Gabrielle 'Coco' Chanel learned her sewing skills from the nuns in the orphanage. She opened her first store in 1910, financed by one of her many admirers. At first she started off with hat making, but soon enough she turned to women's clothing. All of Chanel's designs turned out to be revolutionary and timeless, such as the tweed jacket and classic flap bag.
Behind-the-scenes of the #CHANELHandbagStories campaign by Karl Lagerfeld with Kaia Gerber in Gabrielle Chanel's apartment at 31 rue Cambon in Paris. pic.twitter.com/Dsah1BYq78
— CHANEL (@CHANEL) April 4, 2018
Whilst the flap bag is sophisticated and timeless, the careers website could use a bit of work. First of all, when first visiting the site, you'll be asked to select a country. After selecting, you'll only be able to see the applications for that specific country. The consumer website of Chanel is visually very attractive, but the careers page is quite the opposite, with no images at all!
Let's Wrap it up
So, what can we say about the way these three major fashion brands are activating their employer brand? Well, it seems like Louis Vuitton is the winner when it comes to the careers page, also because they're the only ones with the careers page as a part of the official website. However, the brands are solid (but mostly consumer) brands on social media, which makes it difficult to pick a winner. Let's just say they could all put some more effort in their employer brand. Whether that's the structure of a careers page or creating relevant content for specific platforms.
Tags Burberry, careers page, Chanel, Employer Brand, Employer Branding, Fashion brands, Louis Vuitton, Social Media
By Carolien Daalderop
Head of UX at Link Humans, home of The Employer Brand Index.
← How Craig Fisher Helps Businesses Build Human Connections → Recruiting for Development: Why We Shouldn't Look for the Purple Squirrel


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Can You Work Out in Small Increments?
How Often Should You Do Cardio to Lose Weight?
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Kettlebells date back to the 1700s, when they were developed as workout tools. These cast iron balls with handles are still effective tools for increasing flexibility, balance, strength and endurance. A study referenced by the American Council on Exercise revealed that a 20-minute kettlebell workout burns 272 calories and heightens cardiovascular fitness and strength. Usually, women should use an 18-pound kettlebell, and men should opt for a 35-pound version. Kettlebell deadlifts, single-arm swings, Turkish half get-ups, kettlebell push-ups and kettlebell single-arm rows from a push-up position can constitute a comprehensive workout. Plan to perform this workout three times weekly. Consult with your trainer to determine an appropriate number of circuits and repetitions, but intensity should increase each week.
This workout only requires dumbbells and a matted surface, and it helps you tone and energize. Complete this workout while holding a 5-pound dumbbell in each hand. March in place for two minutes to warm up. Incorporate a combination of squats, push-ups (full or modified), jogging in place, deadlifts, jumping jacks, crunches, bicep curls, lunges, triceps extensions and bent-over rowing. Complete each activity for two-minute rotations until 20 minutes have elapsed.
High-intensity interval training, or HIIT, for 20 minutes results in the same physical benefit as longer, less-intense workouts. HIIT sessions involve one minute of strenuous effort, followed by one minute of easy recovery, repeated for 20 minutes. Strenuous effort is defined as an activity that increases your heart rate to about 90 percent of its maximum. To roughly calculate this number, subtract your age from 220. The strenuous intervals can involve riding on a stationary bike, running or any other exercise that rapidly increases your heart rate. Easy recovery involves performing the same exercise but at a much more relaxed pace.
A University of Illinois study revealed that, for children, a 20-minute workout can be beneficial for cognition. The study showed an increase of 5 to 10 percent in decision making, flexibility and problem solving skills. A child's 20-minute workout could consist of walking on a treadmill or cardio kickboxing. The effects last a few hours, but even that short-term cognition boost can help children with activities that require concentration and complex thinking, such as studying.


Which Test Is Best? is a new digital activity in which students are presented with various statistical findings from a new data set (such as the World Happiness Report) for Chapters 9-18. Students must then apply their knowledge of hypothesis testing to identify the correct statistical analysis that could have been used to generate those findings. With over 10 activities, students will have ample opportunity to put their knowledge to the test in this engaging new way. Try out the activity from Chapter 10, Global Happiness: Everything Up to the Paired-Samples t Test below.


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Destinations United States New York Niagara Falls
The Best Time To Visit Niagara Falls
Sep.11.2018
Nothing testifies to the power of geography quite like Niagara Falls.
Oh, I'm not talking about the power of the falls themselves, mighty as they are, but the way they affect human behavior. In its own way, Niagara Falls is like a miniature Vegas on the Canada-US border. A place to get married, or host a bachelorette party; a place to see a show or try your luck in the casino; a place to stand in awe of nature's naked majesty.
If you've never been, chances are it's on your bucket list.
But when is the best time to scratch it off your list? Is it better to go in the full bloom of summer, to feel the cool spray of the falls on your face? Or is it more romantic in winter, flanked with ice, plummeting plumes frozen in time?
As with most destinations, the best time to visit depends on what kind of vacation you want. With that in mind, here's a season-by-season breakdown of the best times to visit Niagara Falls.
I don't really have to tell you that summer is far and away the most popular time of year to visit the falls, do I? Because it certainly is.
Peak season is June to August*_.*_ With average daily highs sitting between 75 and 80°F, it's not hard to see why. Like much of the region, Niagara Falls tends to experience high levels of humidity, but the proximity to water moderates the temperature. Summers here are clement without being too stifling.
As far as rain goes, June, July, and August all average around 10 days with precipitation. August is the driest month of the year, but also the zenith of tourist season.
The truth is, summer is the time of year you'll find the most to do on either side of the falls. Everything is open, even if it is busy.
On the American side, Niagara Falls State Park is a must-see, with its 400 acres of verdant woodland pressed up against the water. You can take the iconic Maid of the Mist boat tour, the closest it's possible to get to the falls themselves, and explore the Cave of Winds. You can visit the Seneca Niagara Casino, get wet on a Niagara Jet Adventure, or taste the fruits of the land fresh off the vine.
On the Canadian side, there's the Skylon Tower and Marineland, where you can visit the whales and dolphins and ride a roller coaster or two.
If you're willing to drive a wee bit to the north, you can also explore Niagara-on-the-Lake, one of Canada's most beautiful towns. It hosts the Shaw Festival, the second-largest repertory theatre in North America, from April to October every year.
There's also the historic Fort George, a well-preserved colonial outpost and scene of several battles in the War of 1812. You'll have fun watching (and speaking) with the dedicated re-enactors dressed up as Redcoats.
Finally, a little further along the Queen Elizabeth Way, you'll find Southern Ontario is home to one of the world's richest wine regions. There are literally hundreds of wineries to choose from, so bring a designated driver.
Most of these things are best done in the summer, so if you don't mind a crowd -- or paying top dollar -- this is definitely the season to visit.
Pixabay / NatashaG
Fall at the Falls
Now, if you like the sound of some of those 'summery' activities, but you don't want to be surrounded by tourists, the autumn may be the season for you.
The average number of tourists plummets precipitously in September, though you may find the prices don't quite keep pace. The good news is, most of the outdoor activities that would draw you to the falls are still on the table in September and October -- sometimes even November. The air may be brisk, but fall at the falls is not unbearable.
In September, the average daily high is about 70°F; in October, 59°F; in November, it drops to 46°F. You'll want to bring your fall jacket and your best sweater or three, but once again, the moderating effect of the Great Lakes should keep you from freezing too badly.
On the U.S. side, fall may just be the perfect time to explore Old Falls Street USA, a short cobblestone street leading out of Niagara Falls State Park. You should be able to find food, music, street games, and (with a little luck) a fall festival or two.
Old Fort Niagara is stunning in the fall, and provides a nice counterpoint to Fort George on the Canadian side. The fort was originally built in the 1670s by the French, but it was later expanded in the 18th century. It played a role in the French and Indian War, the Revolutionary War (in which it was a loyalist redoubt), and the War of 1812.
On the Canadian side, fall is the perfect season to visit that old Victorian gem of a town, Niagara-on-the-Lake. No place could look better against the backdrop of singed foliage -- except perhaps the falls themselves!
Pixabay / KeithJJ
I know I'm unlikely to sell you on a winter getaway in upstate New York and/or Canada for obvious reasons.
Between December and March, average highs in Niagara Falls fluctuate between 31 and 41°F. January is the coldest month, with lows of around 17°F, while December usually sees the most days of snow (or rain, or sleet) -- 12 days on average. You'll want to dress warmly if you're venturing north at this time of year, and be prepared to live with significant travel delays, since blizzards are fairly common in the Great Lakes basin.
So why even mention a winter trek to the falls as a possibility? Three big reasons.
Reason one: compared to summer, it will be dead. It's true there aren't as many things to do, especially outdoors. But if you're an indoor cat, you can have the run of the place. Particularly if you're interested in hitting the casinos, this could be your time to shine.
On the Canadian side, Fallsview Casino regularly hosts some pretty major concerts at their performance venue. Upcoming acts inclue Eddie Money, Kenny Loggins, and the Commodores -- just to name a few. And if you stay in the hotel, you won't really have to go outside unless you care to.
Reason two: compared to summer, you will save big. January is the cheapest month in Niagara Falls overall, so you can stay in a splurge hotel at fairly reasonable prices.
Reason three: you may just get to see the falls frozen over. It's a spectacular sight, one that really brings home the scale of the thing. Although the falls never freeze completely, even a partial freeze is something to behold.
There's less to say about spring, perhaps, than any other season. The winter thaw in this part of the world is a muddy, messy affair.
The main things to recommend spring in Niagara Falls, particularly on the Canadian side, are the flowers. Tulips and daffodils abound in Niagara falls, and the town is in fact famous for them.
Another reason to visit in springtime is the weather. Moderate as always, April brings average highs of 53°F, and May ups the ante to 66°F.
In my opinion, this makes May a sleeper pick for 'best month to visit Niagara Falls.' It's busier than the winter, but not yet peak season. The prices are higher, but still a bargain. And the weather is balmy, though not quite beautiful. If you're looking for something in-between, May could be the best time for to go.
For my money, the best time to visit Niagara is in the autumn -- late September or early October. The summer crowds have melted away, and the prices have begun to drop. You may deal with some rain, but snow is unlikely.
Best of all, you can breathe in that crisp fall air and watch the leaves burning in the background as the falls rush past, as if to put them out.
Niagara Falls Niagara Falls: Canadian Side Vs. American Side
Niagara Falls The Top 10 Things to Do In Niagara Falls
New York How To Spend A Long Weekend In Quaint Margaretville, NY


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CHAPTER 2 SYMBOLISM OF THE WHEEL
Federico González
OTHER MODALITIES OF THE SYMBOL OF THE WHEEL
In our contemporary cultural outlook, we are accustomed to visualizing space and time as homogeneous, without fissures. Antiquity did not think the same, and established, in distinct, specially selected geographical places, on precise dates of the calendar, their ritual spaces and times. And those spaces and times, in the invisible fabric of life, are precisely the points of conjuncture (ensembles, knots or ligatures) or of interconnection with other planes or worlds.15
In this sense, it is interesting to single out the symbology of the wandering peoples, who, in the course of a journey through the years (time) and the various places (space) find their being in solidifying, concentrating, or crystallizing as a people, or nation, in a determinate temporal and spacial circumstance.16 When this circumstance is noticed by the priests, the sages, and the chiefs, the people settle in that spot and at that time, and in this fashion create a culture-the new life of a group-a plane, or medium, which, by the radiation of a center, as in the model of the cosmic wheel, is to structure the conceptions, emotions, sentiments, of a community. Or, and this is the same thing, their raison d'être as such.
We are witnessing a re-creation of the world, the institution of a cosmogony, which makes the life of that group possible, and which the people itself shapes in actuating it. This "cosmicization" of a spatio-temporal point on the circumference-or periphery of the wheel-would be a spoke of the wheel, a reflection of the central unity, and a true center for those who would ascribe themselves to it. In this sense, we must recall once more that centrifugal energy, or the energy of expansion, corresponds to centripetal energy, or the energy of contraction. And that both together realize the rite of life and death of this or any other community, as well as of any created thing, which is subject to the cause-and-effect determinant, as everything included in the manifest world. Thus, then, in inaugurating for themselves a meaningful space and time, in the mass of the indeterminate and amorphous,17 they sacralize it for themselves,18 and enhance it through its intrinsic quality, to the detriment of the less meaningful or profane, frankly connected with the relative, the multiple, and the colorless.
In this fashion, by way of this rite, a people is born, who begin to reckon their time, their history, from that moment forward-their origins, from this perspective, being mythic and nontemporal. They likewise take account of themselves, of their being, and visualize themselves as protagonist, "center of the world," or "chosen people." Which is the same as to say that they have a name.19
This same name, or color, or number, or particularization of a genetic chemistry, or fingerprint, is absolutely personal. And it is expressed by way of a mark or sign, which bestows on the being its individuality among a group of beings. And that-paradoxically-is at the same time the proclamation of its own death, in the (cause-and-effect) limitation of any plane of existence-inasmuch as it is obvious that what gives us life is precisely thereby signing us with death.
We have seen, then, how the birth of an entity (for example, a culture) simultaneously creates a new space and a new time, in which that entity develops; and we have seen that this development is nothing but that being itself. To put it another way: every creation renews the spatio-temporal, archetypal, possibilities of the original creation, and is only a modality of that same creation, as it actualizes the possibilities of that which, in the manifest universe, has occasioned the spatio-temporal coordinates. For a traditional civilization, sacred festivals are meaningful points on the circumference of the calendaric cycle, which ensure communication with the invisible energy of the center, the reflection of verticality.20 The same occurs with the vast space that, like the year, presents points and situations of conjuncture, of communication of energy through distinct planes or levels.21 These situations are given at precise geographical circumstances, in the places where cities are established, temples are erected, or homes are built.22
These meaningful (sacred) points are clearly hierarchized with respect to meaningless (profane) points, although they are intimately related with the latter. The ones could not exist without the others.23
In this perspective, the center of the symbolic model of the wheel would correspond to the origin, and its manifest unfurling would correspond to the samsara (to borrow a term from Hinduism and Buddhism), from which, thanks to a concentration of energies, one would return to the nirvanic oneness simoultaneous of beings and things. They have never left this oneness except in illusory and successive manners, in accord with the dialectical patterns of the dual mind. On the other hand, it must be emphasized that this hierarchical division between the nirvanic and the samsaric, and likewise between the sacred and the profane, the simultaneous and the successive, is emphatically relative-and valid only from the viewpoint of the samsaric, the profane, and the successive, that is, of the discursive, which seeks to express one sole fact and one sole reality, in itself comprising the limitless spectrum of all possibilities of manifestation, whatever these may be. From the periphery to the center, these hierarchies are established, the center itself being the maximal hierarchization, as symbol in the plane of the original vertical unity, which produces all things by degrees, and to which the latter necessarily return in successive form. If a drop of water falls into a basin, it forms a field of radiation reaching the limits of the basin. From the point of view of a being situated within that limit, and accordingly, a successive being, the return to its original font would be realized through the breach of the various concentric circles, which present themselves as images of worlds or different spatio-temporal states, as placed at intervals, which just so prevent their fusion with the center. Or they enwrap and conceal that original drop, that primordial seed, which is glimpsed as anterior in time.
The symbolical figure of a circle,24 containing other circles within it, considered from the viewpoint of its expansion (ad extra), is the succession of intermediate rungs or stages that make possible the existence of any creation.25 Taken from the viewpoint of the periphery, it is the hierarchized journey (ad intra), or successive scale that is traversed as it seeks fusion with the primordial center.26 Thus, in the model of a traditional city (or civilization), the limits of the same mark out a meaningful space. Outside this order all is incertitude, confusion, barbarism, or savagery. But this city is hierarchized. On its periphery, the great mass lives.27 One degree within (or higher) we find a smaller number of persons, devoted to more specific activities. Another grade or step within or higher, we meet a still smaller group, the nobility, and above it, alone, the emperor, as incarnation of royal power and especially of priestly knowledge or wisdom.28 This is the true idea of aristocracy, always linked to the spiritual hierarchy, and to the knowledge that it contains in its depths, without a point in common with the versions to which we are generally accustomed, degradation and inversion proper to "this world."
In the symbolism of construction, the architecture of the temple rises up from the quadrangular plane of the base (the earth) to the hemisphere of the cupola (heaven), hierarchically arranged in superimposed planes or levels. This temple, in its floor, or horizontal plane, will reproduce the same vertical hierarchies of its structure, and the difficult and hierarchized passage through it. The street would represent the world of the confused and risky. On the street the temple has a door (symbol of passage from one space to another space, or from one state to another state), indeed establishing the boundary between the sacred and the profane. In disappearing behind it, and upon the passage through the area where the baptismal font is located (symbol of regeneration by water, or new birth), one penetrates the temple area properly so-called-and traverses the route29 leading to the center of the temple,30 where the altar is found, as projection, in the plane of the verticality of the cupola-and upon the stone of sacrifice, with its relationship with fire, the sacrarium,31 an empty area or vessel capable of receiving the heavenly currents that will be scattered upon this point as emanations, and which could well be called the "heart" of the temple.
Beginning here, the hierarchies are vertical, and in order to perceive them one must die anew, and rise or be regenerated in the fire. While the baptismal waters are akin to those born of the mother's belly (although they may fast, do penance, and practice asceticism or chastity like John the Baptist), the baptism of fire is related to the rock of sacrifice, the ceremonial blood and wine; with Christ, and those who virtually have no human condition any longer, not even the blurred sign of the determination of birth, wherefore they are not found identified with their person, or even with their actual relative acts-that is to say, those who now know the supra-individual steps of being by direct intuition, of whom it is said that they no longer perceive exclusively by the senses, and are in a condition to undertake a new journey, this time vertical. This same meaning (of the concentric circles, hierarchized with respect to their proximity to a center or axis) is given by the Hebrews to Zion as the chosen land, with the sacred city of Jerusalem within it, and in the interior of the city its temple, and hidden at the heart of this last, the Sanctum Sanctorum.
If the temple is a model of the cosmos, the divine effluvia must be found immanently at the most hidden part of the same. If the human body is also a temple, and a model or miniature of the cosmos, these effluvia, as well, must be found virtually, or in potentia, in the depths of the heart. In the cosmic model of the wheel will be found the central (invisible) point that articulates its gradual radiations or vibrations of energies, until it reaches its proper limits, or surface forms. But: (a) the temple is not the sum of its stones, or the quantitative inventory that could be taken-in any direction-of its totality or its parts; (b) just so, man is not the sum of his cells, nor the catalog of his numberless components; and (c) on the other hand, in the symbolical model that we are studying, "thirty radii converge on the hub of the wheel, but it is the empty part of the center that makes the wheel useful."32 Indeed what is really of interest is the internal space and its different, meaningful, sacred qualities, and not the quantitative succession of windows and columns of the temple, or muscles and pores of the human being, or limitlessly numerous places through which the wheel passes, has passed, or will pass. And actually, that internal place is the residence of silence, or mystery. The heart is the clef (key) of being, since in it is found the possibility of the vertical ascent-messianic salvation, or the definitive emergence of samsara in nirvana, or state of "illumination."33
This liberation is attained along a gradual path, by stages, which, in the case of the Far Eastern tradition, are listed from the periphery to the center, as the human being's Tao, the Tao of the earth, the Tao of heaven, and the Tao of Tao's or the Tao abstract. In the Jewish tradition (likewise moving from the periphery to the center), the listing proceeds from Olam ha'asiyah, or world of materialized reality, to Olam hayetsirah, world of the cosmic formations, to Olam haberiyah, or plane of creation, to Olam ha'atsiluth, the world of the emanations. This ascending spiral route, which moves from the lowest to the highest,334120 from the grossest to the most subtile, from the multiple to the synthetic, and binds various planes together, in successive fashion, is the one Dante describes in the Divine Comedy. And it is well known that this way is called that of the initiation into the mysteries. Which is equivalent to the transmutation of consciousness of the apprentice or pupil, the broadening of all of his latent or dormant possibilities-who, through an archetypal process, realizes a "journey," or successive route-the adventure of cognition, which ultimately terminates in the acquisition of what has been sought. This discovery is called liquor of immortality, elixir of long life, paradise, treasure, eternal life, or Holy Grail.
In the archetypal center, or in the vertical axis, is that place for which all living beings long, consciously or not. And there is where it is found by scientists, or philosophers, or artists, as the medieval alchemists called themselves. On the other hand, it is in this invisible place, barely virtual, where the sages of all peoples and all traditions have found it, one and all. For they know that what is greater in one sense is lesser in another, and vice versa. Thus, what is greater in a heightened order (heaven) is almost imperceptible in a low order (earth). And what is greater in a low order (earth) is less in a high order (heaven). These personages therefore seek the small, the imperceptible, the invisible, the subtile, since they know that there is where is found, in potency, the whole possibility of power. And they do not seek it in order thereupon to utilize it in a practical spirit. Nor indeed do they manipulate this cognition as a literal "formula." Rather, on the basis of interior experience, they recognize or incarnate the truth of these asseverations, flawlessly reversed with respect to the illusory education received in the profane world, which makes of the quantitative and the largest the most powerful, when the reality is precisely the contrary, since any act is included in its potency.
In any case, this "route" or "journey" is analogous to that of the creation of a world or cosmos. It is also the reintegration of the soul into its higher planes, after physical death as well as initiatory death. And in both cases, the soul that withholds its progress in the divine "journey" of being must necessarily fall downward, and be reincarnated anew, if it is a matter of physical death, and be limited to a stage on the road that would be fixed by its own convictions or conditions, if we refer to initiation. Then it will not have been able to be reabsorbed into its origin, and it will be impelled to wander once more through innumerable states of universal being, having lost the opportunity represented by the human state, with the latter involving not definitive condemnation,35 but the difficulty of spiritual realization, and the "trials" necessary for the "polishing of the stone," that is: the hazardous transition from one state to another state (death/resurrection, unfastening/fastening), toward the immobility of the ever-present principle.
In this sense, we must observe that the "progressive," "victorious," and "scientific" man, as he is conceptualized by contemporary modern society-that is, by us as children of the conditioned programming that has fallen to our lot-in the eyes of a traditional society has not yet attained to being man. According to this conception, we ordinarily exist in an infrahuman state, and we must actualize, by way of an intense labor, our latent or dormant potentialities, until we arrive at the Edenic, virginal, or primordial state36 that, in our model of the wheel, is the central, original point, the tabernacle of the temple, the heart of the living being, the empty space in which we can be fecundated by the spirit. Then we should be in the presence of the opportunity for the birth of the inner Christ (announced by John and Elijah),37 that Christ who, in turn, through his passion and death, could finally identify with the Father, in direct form, the form that allows him resurrection and eternal life. In this last case, what would occur is fusion with the deity-without confusion-the union in the vertical axis represented by the tree of the cross. That is, one would arrive at suprahuman, or supracosmic, states, and the opportunity of absolute transcendence, which no language or code will ever be able to express, but that can be experienced by the true human being, in her and his intermediary character.
3. Perspectives based on Art
15 The numerical series and the musical scale are two discontinuous codes, and their components are not homogeneous. Hence the arithmetical paradoxes and musical half-tones.
16 In the case of the Aztecs, after a pilgrimage of a precise (magical) number of years, they find their moment, or the necessary maturation, or the adequate temporal excision, corresponding with a spatial fact: the discovery of an island among the waters, the traditional symbol of the center; and of a rock, a miniature of the mountain, which, together with the tree-in this case a prickly pear-is an emblem of the axis.
17 For example, the circular or quadrangular schema of a city (or civilization) amidst the confusion of the wild forests or fields. On the other hand, the temples or cultic tents, whose shape is circular, are proper to nomadic peoples, while those of a quadrangular base correspond to the sedentary peoples.
18 The sacred has nothing in common with the "religious" as commonly understood today.
19 Recall the creative and intermediary power possessed by the human being, bestowed on Adam in Paradise: that of naming all things. At the same time, names are but the symbolic forms of the unnamable. And we already know that the name expresses the essence of the "thing."
20 Or spokes, in the model of the wheel of the cosmos. These "rays," whose relation to the celestial is obvious, are emissaries uniting earth with sky. In the case of the circle, it is the "radii" that bind the center with the circumference.
21 As has already been indicated, each of the limitless number of points along the periphery constitute an "individualization," and a reflected image of the archetypal point, just as the latter corresponds to a society or a human being.
22 These terms are equivalent and interchangeable. The altar of the home is the hearth, and the paterfamilias is the priest. Among nomadic peoples, a ritual post is erected, a symbol of the axis, which is planted in the place where the people in question are to pitch camp. Other pilgrims carry this same center within themselves.
23 In the life (cycle) of a human being, these meaningful points, in which is established direct or vertical communication with other times or spaces, or better, where other readings or experiences of the spatio-temporal coordinates in which we are framed (crucified) are actualized, can be visualized as special states of awareness, and many of them are recalled as meaningful, or as evocations or "reminiscences," in the sense attributed by Plato to this term.
24 Or its quadrangular equivalent.
25 Passing through the desert, Jacob reclines in a determinate place where there is a rock, symbol of the axis (miniature of the mountain) on which he rests his head. Here he "dreams" of "angels," who "descend" and "ascend" by a ladder from heaven to earth and earth to heaven. This irruption of the vertical into the horizontal is equivalent to the radiation of the center, or the spoke of a wheel, which communicates movement to the periphery, as we have already seen.
26 Thus Denis the Areopagite, speaking of the straight lines that converge in the center, tells us that, in proportion as they are closer to the same, the union is more intimate. And on the contrary, the farther away they are from it, the greater is the separation among them.
27 What we could call the base, if we give tridimensionality or relief to this plane model of the city. Indeed, successive circles or squares, within one another, give us the idea, in the plane, of what the pyramid or ziggurat is in space, which goes from its numerous base to its culmination in the final single point.
28 Let us observe that the expansive (ad extra) series could be expressed: 1 + 2 + 3 + 4 = 10 (number of totality), while the contractive (ad intra) series would be: 10 = 4 + 3 + 2 + 1, according to the celebrated Pythagorean tetraktys.
29 In this journey one encounters the "labyrinth" (as at Chartres and in other cathedrals and temples), symbol of the pilgrimage in quest of knowledge, and of the danger of "getting lost." We must face the difficulty of finding our way out, for our own salvation.
30 In some churches, especially in Gothic cathedrals, this center is not found in the "middle" of the architectonic form, but in the center of the cross, which is the schema of the constructive plane. As we know, the Christian cross does not have equal arms.
31 The sanctuary, or ark of the covenant, is in turn another miniature of the cosmos.
32 Lao Tsu, Tao Te Ching/, 11.
33 It is curious to reflect that many persons think that illumination is produced to the accompaniment of sentimental orchestras of violins and harps, or with grave and solemn music, in a cinema world of self-compassion and pomposity. Others believe it comes by chance, or like a lightning bolt. In both versions, we must observe that this "illumination" comes from without, to enlighten the subject in question. That is, there is a subject that enlightens, and an enlightened object. Quite the contrary, enlightenment refers to a state of consciousness, in which things and ourselves are a single identity, without confusion of any sort, and in which a distinct enlightenment embraces all objects, which simultaneously gleam in the new light of a state that has just been discovered, and which is translated into that knowledge.
34 Despite the fact that its first and longest steps are often described as a descent to the infernal regions, a journey to the lower world, to the interior of the earth.
35 By an act of repentance in the present, that is, by a reactualization, the "sins" of the past are erased. The axis of the wheel remains immutable, while ongoing change is the property of mobility.
36 To know that we are nothing, that we need know nothing, to put off the vain pride of officialized ignorance and our false security.
37 This would be, properly, the human state. And it would therefore correspond to the mediating function of the human being between heaven and earth. Furthermore, the identification between Adam and Christ is well known. This central situation is called tifereth in the Hebrew Cabala, and corresponds to the center, from which the sun extracts its energy, which it manifests, let us repeat, through its rays or the spokes of the wheel.


Bonfire night (after sunday's palaver of contractions from 1am to 7pm and subsequent backaches) turned out to be another damp squib.
Went to fireworks anyway (ten to fifteen mins apart) - left out the turkey defrosted for the thai curry.
Got back from fireworks and found the cats eating the raw turkey. Sent Mike out for more.
Ten mins apart about 9pm - Mike started cooking.
Maz came up at 10:45. Was 6 - 10 mins apart still with the odd 5 minuter. Then my coccyx and the front got trapped nerves and my legs turned to jelly so I couldn't stand up. A lot stronger pain too - red faced.
Rang hospital and they said - oh posterior labour - come on up.
11pm went to the hospital, then someone saw me at midnite. Blood pressure was 135/90, trace protein in 'sample'. Heartrate 88 bpm.
I was strapped to machines and left on the monitor for an hour and a half - also given paracetamol and codeine for the pain.
The codeine is what spoiled everything - as, while I was lying on my back there my contractions were coming in waves 3-5 mins apart - but the codeine made me spaced and short of breath/dizzy and my right arm and leg went 'weird' - half numb half something to do with my spd or possibly blood pressure - in fact, when I got up at 2am I had to lie back down again and get off the bed the opposite side due to a trapped nerve.
As I was so spaced I was sort of mentally dislocated from the pain - tho I could still feel contractions happening, the rest of my world was basically drunk and all I wanted to do was go to sleep.
Which is exactly what I did as they sent me home at 2am, telling me to ring in for a scan at 8am in the morning.
3am, woke and felt contractions but they didn't seem to belong to me.
When I woke at 6am nothing was happening at all and I was still incredibly woozy.
So Thursday morning I rang the hosp and booked a 3:30pm scan.
The scan told me that the water volume is fine, but the baby is HAUGE and measured about 8lb 13oz.
The scan people said 'do you know who to see after this and where do these results go?'.
I had no idea - was probably told but was out of it on codeine at 2am - so I went home. Again.
At home I tried to ring the midwife but couldnt locate her, so rang the Day Assessment Ward and said 'Uh?'.
They said 'Where are you?'.
I then discussed scan results and was told I was supposed to have been sent to them rather than go home. They were concerned about the size of the baby and my blood pressure, bearing in mind my mother had a history of high blood pressure/pre-eclampsia with me and my two younger sisters, and blood pressure is a family issue.
Had to fast from midnight last night to go in for a glucose tolerance test today at 8am.
At 8:30am they stuck me for blood and gave me glucose drink.
At 10:30am they followed that up with more stealing of my vital fluids and checked blood pressure etc.
Later on in the morning I had tea and toast, another blood pressure check, then got strapped to machines to monitor the baby for 20 mins.
Went to the canteen for lunch and had to go back at 2pm.
Went back and was seen for a sweep of membranes (gawd I hurt now - was awkward and I couldn't relax) and discussed what to do next with a consultant.
1. A community midwife visits me at the flat daily for all round MOT - Mike has to do lots of tidying tonight!!!
2. I use a suppository to 'loosen my system' for the next 3 nights as that is a major problem at the moment despite weetabix, branflakes, figs, prunes, fybogel sachets etc etc - just not functioning!!
3. I also wait to see if the sweep has any effect.
4. I see a consultant at the hospital next Tuesday for the results of my glucose test (am I diabetic? basically) and for a follow-up of previous days/make arrangements for whatevers next.
Grah! Am I fed up with this? I hope Vamp Minor finds the Star Trek Teleport button in there soon!!!
Good grief, already almost 9 pounds??? Did they give you a reason why they didn't induce? When is he due?
Don't worry about the diabetes thing, it's probably gestational diabetes and happens to a lot of pregnant women.
Encouraging thoughts coming your way.
Oh, am I glad that obstetric things and blood pressure were two parts of my body/physiology that *did* work OK!
Icon= Luca sends greetings and encouragement - he was 10 days late but eventually arrived smoothly!


text:
Q: Swift Save viewcontroller state using coder beyond app close I am using Xcode 8 and swift 2.3
I want to save the entire view controller to file and restore state even after app closes.
I searched everywhere and found we need to use coder for that. but all just shows to save an object.
but here I need to save entire ViewContoller and subviews.
ViewCotroller will have three buttons

*

*Add Text

*Add Image : User can add any number of textViews and Images. So I need to save all that info also.

*Add ViewController : User may have an array of this viewController and need to save all.
Question 1)
Can just save self.view and can it save all subviews automatically ?
Question 2)
I need to init without coder at start by just using
let nameVccVar = nameVcc()

and
let nameVccVar = nameVcc(coder: CodeVar)

Question 3)
How do I save all this coded data to file using NSKeyedUnarchiver and retrieve back?
Kindly help me or give me tips to make all this work
class nameVcc: UIViewController
{
    var nameIntVar = 0
    var nameStringVar = "Save this"
    var nameImageVar = UIImage()

    override func viewDidLoad()
    {
        super.viewDidLoad()
    }

    required init?(coder NkdPsgVar: NSCoder)
    {
        super.init(coder: NkdPsgVar)
    }

    override func encodeWithCoder(DkdPsgVar: NSCoder)
    {

    }

    func addTextViewBtnClick()
    {
        let viewVar = UIView()

        // Set many values for view

        self.view.addSubview(viewVar)
    }

    func addImageViewBtnClick()
    {
        let imgViewVar = UIImageView()

        // Set many values for ImageView

        self.view.addSubview(imgViewVar)
    }
}

I also tired :
convenience init()
{
    self.init()
}

and
convenience init()
{
    self.init(coder: NSCoder())
}

A: TL;DR:
There are key steps and methods required to implement state restoration in your app.

*

*Opting-in for App State Restoration in App Delegate by returning true for these methods shouldSaveApplicationState and shouldRestoreApplicationState.

*Setting Restoration Identifier for view controllers that you want state restoration implemented in.

*Implementing encodeRestorableStateWithCoder and decodeRestorableStateWithCoder methods in your view controller. The former is used to save any state information of your view controller to disk using encodeObjectForKey method. The latter shall be used to restore the state back from your saved contents to the disk by using decodeObjectForKey method.

Watch this awesome blog post about State Restoration for easier grasp. If you have time, also do spend on watching State Restoration WWDC Session.

There is no need to save your entire ViewController yourself. UIKit does that for you when you set your Restoration Identifier (In Interface Builder). The only thing we need to focus for state restoration is to save your essential properties needed to re-create your app's "State", for example, a Bool property which determines whether you want to display a specific button or not.
Now coming to your series of questions....

Can I just save self.view and can it save all subviews automatically ?

You do not need to save any of your views. All subviews will be handled by UIKit. Encode your required properties (such as Bool flags, count variables, key properties that can be used to fetch data from api call for your datasource etc.) inside encodeRestorableStateWithCoder method. Don't forget to re-contruct your view controller's state from decodeRestorableStateWithCoder. Both of these methods belond to UIStateRestoring protocol.

I need to init without coder at start by just using

No need to do any fancy inits.

How do I save all this coded data to file using NSKeyedUnarchiver and
  retrieve back?

As I said earlier, implement necessary UIStateRestoring protocol methods to save and restore your app's state.

redpajama_set_name: RedPajamaStackExchange


Finding & repairing swimming pool leaks.
My attached SPA is draining down about 2 inches a night after the pool pump is off for the day. After about three weeks it is now below all fixtures; jets, return and light. This has happened before and stopped for some unknown reason. Maybe valves were leaking by and reseated after using the SPA?? Is it possible for water to drain down to where I described, which is down below the pool level, by a valve leaking by? And where does the water go? It is not going back into the pool because the pool level has remained steady.
What is the surface area of your pool and the volume of water in the spa that you are losing?


We really need your support and you are among the few that decided to donate.
We understand that sometimes patrons do not want public recognition but if that is not your case just feel the form below and we will make a post recognizing your support. We will do that every 5 donations of this kind.
We are dedicated 24/7 to the website but the advertisement tool in not creating the income needed to rely only in that income. That is why donations are so important.
Please help us spread the word about the need for donations among your friends and family. We also encourage you to choose or recommend the monthly subscription option because with that we might get a stable source of income that might help us better organize our work and spending.
Remember that you can contact us using social networks but also sending us an email (orinoco.tribune@gmail.com) or calling us (+1-773-969.6468) and leaving a voice mail that we will answer.


text:
Q: Change the cordova-nativeaudio plugin I am trying to change a Cordova plugin so I can change the iOS music category from javascript but I get a warning in the Cordova build log
Any idea what I is wrong with my code? The first parameter is working but the second not
audio.setCategory('AVAudioSessionCategoryAmbient',
                  'AVAudioSessionCategoryOptionMixWithOthers')

and iOS section:
- (void) setCategory:(CDVInvokedUrlCommand *)command {

    NSArray* arguments = command.arguments;
    NSString *category = [arguments objectAtIndex:0];
    NSString *options = [arguments objectAtIndex:1];

    [[AVAudioSession sharedInstance] setCategory:category withOptions:options error:nil];

    [self.commandDelegate sendPluginResult:[CDVPluginResult resultWithStatus:CDVCommandStatus_OK] callbackId:command.callbackId];
}

I receive the following warning

/project/koeriersapp/Plugins/cordova-plugin-nativeaudio/NativeAudio.m:67:71:
  warning: incompatible pointer to integer conversion sending 'NSString
  *__strong' to parameter of type 'AVAudioSessionCategoryOptions' (aka 'enum AVAudioSessionCategoryOptions') [-Wint-conversion]
      [[AVAudioSession sharedInstance] setCategory:category withOptions:options error:nil];
                                                                        ^~~~~~~~~~~~ In module 'AVFoundation' imported from
  /project/koeriersapp/Plugins/cordova-plugin-nativeaudio/NativeAudio.h:11:
  /Applications/Xcode.app/Contents/Developer/Platforms/iPhoneOS.platform/Developer/SDKs/iPhoneOS10.1.sdk/System/Library/Frameworks/AVFoundation.framework/Frameworks/AVFAudio.framework/Headers/AVAudioSession.h:364:85:
  note: passing argument to parameter 'options' here
  - (BOOL)setCategory:(NSString *)category withOptions:(AVAudioSessionCategoryOptions)options error:(NSError
  **)outError NS_AVAILABLE_IOS(6_0);
                                                                                ^

A: You cannot pass NSString as options to:
[[AVAudioSession sharedInstance] setCategory:category withOptions:options error:nil];

It should be AVAudioSessionCategoryOptions enumeration.
To solve it you can write your matcher as:
AVAudioSessionCategoryOptions optionsOrig = 0;

if([options isEqualToString: @"AVAudioSessionCategoryOptionMixWithOthers"]){
    optionsOrig = AVAudioSessionCategoryOptionMixWithOthers;
}

[[AVAudioSession sharedInstance] setCategory: category withOptions:optionsOrig error:nil];

Ref:
- (BOOL)setCategory:(NSString *)category
    withOptions:(AVAudioSessionCategoryOptions)options
          error:(NSError * _Nullable *)outError;

See DOCs here


Words cannot say or even convey all the amazing reactions, emotions, feelings, and experiences of being pregnant, giving birth, holding your newborn during a nap or feeding and watching your child grow up.
Okay, okay, lol yes words describe these life events BUT portraits taken during these amazing times tend to be a simple yet powerful way to capture experiences.
One thing is for sure, life flies by.
Meet Mrs E and Mr. K – a fabulous couple that brings fun energy to a room.
I remember meeting this couple at a wedding I photographed. She was the maid of honour at her best friend's wedding. I liked Mrs E the moment we started talking as she was full of life, excitement and energy. And a few months after the wedding, I received a warm email from her enquiring about Maternity photos. Eeeeek I was so excited.
We spoke about her vision and thoughts about maternity photos and my heart raced when I heard that she wanted to include their rabbit, Freya, in their maternity session. Eeek, music to my ears. I just love it when families involve their fur-babies. Mrs. E is a fashion-ista and has a flare for details. In addition, her hand her husband are also a couple that likes to be casual-chic. Thus, we planned a fun maternity shoot that started out with some 'casual' outfits and then finished outside with a New York inspired fashion session. Mrs. E rocked the session with her baby bump.
Two weeks after their maternity session they met with me for their portrait premier. This was a fun session, where they got to see their images and relive their maternity session all over again. So many laughs were shared again. They decided they wanted to invest in a beautiful photo album that told their maternity story from start to favourite. Photo albums are an amazing way to showcase your photos. And they can picture themselves sitting on the couch and turning the pages of their beautiful photo album, all the while telling their story to the little one sitting on their lap.
They loved the photos so much and the memories captured that they asked if I did newborn photos too. I smiled and said, I sure do. I explained that I love lifestyle newborn photos where mom and dad are more involved in natural poses and moments. They were hooked.
Stay tuned for a blog post all about their newborn session.
Here is a gallery showcasing some of our favourite shots from their Maternity session.


£399.95 £419.95(Save 5%) Select size for availability.
Its Tutu cowhide leather shell has a selection of micro-elastic and S1 bi-elastic inserts to provide a great combination of comfort and style while offering what Dainese does best, safety. So safe is this jacket that it is certified to CE - Cat. II - 89/686/ EEC Directive. All of the composite protectors in the elbows and shoulders are certified to EN 1621.1 standard and there are subtle reflective details to aid primary safety and waist adjusters for adjustable comfort.
The co-injected shoulder with aluminium insert is designed to look good whilst being ready to take a hit if it all goes wrong.
There is a Nanofeel liner with silver ion treatment to keep the jacket fresh plus air vents on the sides and front to keep you fresh.
There are a couple of integrated pockets on the outside as well as pockets for the Dainese double chest protection system. There is also a pocket that's designed to accept a Dainese G1, G2, or Forcefield 008 back protector.
Naturally there is a full length connecting zip to join this to any of the trousers, leather or textile, in the Dainese range. The popular choices are the Dainese Pony jeans or Dainese Alien jeans for touring, or for sports and track use have a look at the Dainese Delta 3 jeans, and Misano leather pants.
There is a choice of colours in this jacket, including; black, white/black/red, black//fluo yellow, red/black/white, and black//fluo red.
There is a full-size selection from 44-64 available to order as well.
The racing 3 is also available as a perforated jacket in a full-size range in white/black/red, black/fluo red or black.


text:
Q: overloading std::ostream& operator<< in the derived class without static_cast<> Is this the only way of overloading the ostream& operator<< for a derived class without duplicating code for the base class? Are the casts not something to be avoided?
I don't see any other way, except to define some kind of function in the base class that will represent the data of the base class as something that std::operator<< could "eat up" (like a string?), doing the same thing for the derived class (calling the base class stream representation function within the derived class stream. rep. function of course).
What is the ideal solution to this problem?
#include <iostream>

class Base
{
    private:
        int b_;
    public:
        Base()
            :
                b_()
        {};

        Base (int b)
            :
                b_(b)
        {};

        friend std::ostream& operator<<(std::ostream& os, const Base& b);
};

std::ostream& operator<< (std::ostream& os, const Base& b)
{
    os << b.b_;
    return os;
}

class Derived
:
    public Base
{
    private:
        int d_;
    public:
        Derived()
            :
                d_()
        {};

        Derived (int b, int d)
            :
                Base(b),
                d_(d)
        {};

        friend std::ostream& operator<<(std::ostream& os, const Derived& b);
};

std::ostream& operator<< (std::ostream& os, const Derived& b)
{
    os << static_cast<const Base&>(b) << " " << b.d_;
    return os;
}

using namespace std;

int main(int argc, const char *argv[])
{
    Base b(4);

    cout << b << endl;

    Derived d(4,5);

    cout << d << endl;

    return 0;
}

A: Well ... casting should be avoided if done in contexts where the result is not correctly defined, but casting into a base is always safe.
It is possible to avoid the explicit cast by considering that a derived reference decays into the base reference, so you can use an  implicit conversion, like in this case:
std::ostream& operator<< (std::ostream& os, const Derived& b)
{
    const Base& bs = b;
    os << bs << " " << b.d_;
    return os;
}

A: static_cast<const Base&>(b)

is safe and there is nothing incorrect, because every derived class object is also an Base class object and can be treated like one.
Casts are dangerous only when used in a reckless way, You must use casts where they are needed and in a correct manner, that is the very purpose of their provision by the language standard.

A: You could change things around like this:
struct Base {
    int b_;
    void print(ostream &o) { o << b_; }
};

struct Derived : Base {
    int d_;
    void print(ostream &o) {
        Base::print(o);
        o << ' ' << d_;
   }
};

ostream &operator<<(ostream &o, Base &b) {
    b.print(o);
    return o;
}

ostream &operator<<(ostream &o, Derived &d) {
    d.print(o);
    return o;
}

If Base had virtual functions (which in this example it doesn't), then print could be one of them, and you could get rid of the multiple overloads of operator<<.

A: If you don't like the casts, you can have your operator call a writeTo function that is implemented using the template method pattern.
e.g.
class Base {
   public:
       std::ostream& writeTo(std::ostream& ostr) const { os << b_; return this->doWriteTo(os); }
   private:
       int b_;

       virtual std::ostream& doWriteTo(std::ostream& ostr) const = 0; // pure virtual
};

class Derived {
    private:
        int d_;
        virtual std::ostream& doWriteTo(std::ostream& ostr) const {return ostr << d_;}
};

std::ostream& operator<<(std::ostream& ostr, const Derived& d) {
  return d.writeTo(ostr);

}
Actually, using this pattern, you can write operator<< once and for all for Base:
std::ostream& operator<<(std::ostream& ostr, const Base& b) {
  return b.writeTo(ostr);

}
This pattern also elminates the need to make operator<< a friend.


The Automatic Border Feature quickly allows you to create a border in your sheet format. You can control every aspect of the border, including grid size and layout. When using the tool border, zones automatically update. You can also add Margin Mask areas, where labels and dividers are not shown.
To Start the Automatic Border Feature, go to – Open a drawing, then click the Sheet Format Tab. Select Edit Sheet and then Automatic Border.
The first option you will see is the Delete list, you can select items that are already on your Sheet Format to be deleted. Select the arrow. You will want to delete any existing border, this prevents overlapping with the newly created border.
The next step allows you to set the zone size, formatting, borders, and margins. You have two options for the zone formatting the "50mm from center" option creates zones every 50mm from the center or the "evenly sized" option creates rows and columns that are based on the paper size.
The Margin options include left and right justifications, line size and adding a double border.
If you want an odd number of rows and columns, the Center Zone Divider may overlap the center label. If this is the case, you can specify the Outer Zone Divider Length to be zero.
The last step allows you to add margin masks. Margin masks allow you to hide zone divider and labels in the margin. To create a margin mask, select plus button and position the rectangular mask over the area you want to hide. You can add multiple masks to the page.
You have now created a parametrically linked border! Don't forget to save it as a Sheet Format. To do so, save the sheet format, select File – Save As Sheet Format.
And that's a wrap on using the automatic border feature in SOLIDWORKS Drawings!
Have a technical question? Please let us know.
This entry was posted in blog, CAD and tagged automatic border, Drawings, SolidWorks, tips on April 13, 2017 by Krystine Thoroughman.


text:
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Maxwell Quartet
Watch Maxwell Quartet Live
1st Prize winner and Audience Prize winner at the Trondheim (Norway) International Chamber Music Competition in 2017, the Maxwell Quartet has been hailed for "great communication" by The Strad Magazine and as "brilliantly fresh, unexpected and exhilarating" by The Scottish Herald. The Glasgow-based Maxwell Quartet is now firmly regarded as one of Britain's finest string quartets, with performances set apart by the tribute they pay to their Scottish folk music heritage.
The quartet performs regularly across the UK and abroad, at venues including London's Wigmore Hall, Purcell Room, St Martin-in-the-Fields, and the BBC Chamber Music Proms. Their 2017-18 season included engagements in Denmark, Norway, Germany, the Netherlands, France and China. Their first North American tour, in Winter 2019, is to coincide with the release of their début CD, featuring works by Haydn and traditional Scottish folk music.
The Maxwell Quartet consists of four great friends who grew up playing classical and folk music together in youth orchestras and music schools across Scotland. The group officially began in 2010 at the Royal Conservatoire of Scotland, where its founding members met as postgraduate students. The very next year, the Quartet was appointed as the Conservatoire's Young Artists in Residence.
Performing widely across Scotland, the quartet has established a reputation for delighting audiences with their "unaffected enthusiasm" (North Highland Times) and their "panache and conviction" (Strathearn Herald). The quartet has held residencies at Oxford University, Perth Concert Hall and many chamber music festivals across the UK, including their own Loch Shiel Festival in the Scottish Highlands.
NOTE: For the protection of attendees, identification and proof of covid vaccination will be required for concert admission.
Date 01-19-2022 7:30 pm
Cut off date 01-19-2022 3:00 pm
Individual Price $30.00
Richards Center for the Arts
2248 Ramon Rd, Palm Springs, CA 92264, USA Palm Springs, CA 92262
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Svetlana Smolina
Svetlana Smolina performs with orchestras and in recitals worldwide. Some recent notable solo appearances with orchestras include with the Mariinsky Orchestra at Carnegie Hall, New York Philharmonic at Avery Fischer Hall, St. Petersburg Philharmonic, the Orchestra National de France, Odessa and Nizhny Novgorod Philharmonic, Pittsburgh Symphony, New Jersey Symphony Orchestra, Toledo Symphony, Florida Philharmonic, Shreveport Symphony, New York Chamber and many other ensembles. A frequent guest at festivals worldwide, Ms. Smolina has performed at the Salzburg Festival, Hollywood Bowl Festival in Los Angeles, Ravinia Rising Stars Festival in Chicago, White Nights Festival in St. Petersburg, Maggio Musicale in Florence, Mikkeli Festival, Ruhr Festival, Easter Festival in Moscow, Rotterdam Phillips Gergiev Festival in Holland, International Gilmore Keyboard Festival, Settimane Musicali di Stresa, Festivale di Bologna, Michelangeli Festival in Brescia, Hennessy Artists Series at the Hanoi Opera House in Vietnam, The Voice of Music in Upper Galilee in Kfar Blum, Corfu and Samos Summer festivals in Greece, Philadelphia International Festival, Rock Hotel Piano Festival Series in NYC and many others. As a recitalist she has concertized in prestigious halls Conservatory Hall, Mozarteum and Großen Saal in Salzburg, Merkin Hall in NYC, Kravis Center in West Palm Beach, Lincoln Theater in Miami, NJPAC Hall in New Jersey, Gulbenkian Foundation in Lisbon, Grand Artists Series in Tel-Aviv, Academia Santa Cecilia in Rome, Miller Theater at Columbia University, NYC, Vienna's Sacher Hall, and many others.
Recent recordings and broadcasts include Stravinsky's Les Noces with Valery Gergiev conducting on the Decca/Phillips label, and on the Mariinsky Label, which received the 2011 ICMA award for Best Choral Work. Others include a solo Chopin album for the Chopin iTunes Project, a recital with violinist Vadim Repin for Deutsche Grammophone in Berlin, a Benjamin Britten Young Apollo live recording from Walt Disney Hall for BCM+D records, and many network broadcasts including NPR, BBC, PBS, RAI, and Cultura TV.
Dr. Smolina is DMA graduate from the University of Michigan, a recipient of the "New Names" Scholarship program in Russia, and has been a prizewinner of many international competitions, including Citta di Senigalia International Piano Competition (Italy), Kingsville International Piano Competition, Wideman Piano Competition and the Murray Dranoff International Duo Piano Competition in Miami, Florida. Svetlana's principal teachers include Alexander Toradze, Arthur Greene, Natalia Fisch, Evgeny Mogilevsky, and Monique Duphil. In the summer of 2011 Svetlana joined the iPalpiti Festival of International Laureates in Los Angeles, making her debut at Walt Disney Concert Hall with the iPalpiti Orchestra (Eduard Schmieder, conductor) and in solo and chamber concerts. That same summer, she won the Beverly Hills Auditions, worked as collaborative faculty at the Mozarteum Summer Academy and was appointed as the Samuel Barber Artist -In-Residence at West Chester University of Pennsylvania's School of Music in The College of Visual and Performing Arts.
Since 2011 Svetlana has joined the piano faculty at the Philadelphia International Summer Festival. In 2013 Svetlana was appointed as Artist in Residence at Temple University's Esther Boyer College of Music & Dance, in the Department of Instrumental Studies.
Career highlights include recitals on the Horowitz Steinway at Steinway, DE and for the Crossover Show at WRTI–FM in Philadelphia, NYC recitals at Rotunda Hall at 57th St. Steinway and Merkin Hall, Greene Space Performance Center in NYC, at Barge Music NY, in San Diego, Los Angeles, and Orange County, California for the Tri-County Emerging Artist Concert Series, at WRTI-FM Radio Station, the Live Connections Series at World Cafe Live! In Philadelphia, Powell Concert Series in Tennessee, Steinway Artist Series in PA and NJ, at Tribeca Film Festival in NY, concerto and solo appearances at iPalpiti International Laureates Festival in Los Angeles, the Summit Festival, Philadelphia International Music Festival, Long Island Mozart Festival, NY, Beethoven Festival in Long Island with Chamber Players International and collaboration with Composer Concordance in NYC, performances in Ragusa, Sicily and with Nizhny- Novgorod Philharmonic in Russia.
2013 projects included recording a solo album at Cove City Sound Studios, and recording the soundtrack for the upcoming drama You are Not You, starring Hilary Swank. In January 2014 Vadim Repin gave a chamber concert with Svetlana for the metropolitan public in the residence of Ambassador Extraordinary and Plenipotentiary of Russia to the USA Sergey Kislyak in Washington DC. The concert was to draw attention of news agencies to the Vadim Repin Transsiberian Art Festival in Novosibirsk. In December 2014 Svetlana will tour as a soloist with the Dublin Philharmonic Orchestra in China and with the Thailand Philharmonic in Bangkok.
"Svetlana Smolina, an outstanding Russian pianist with a luxuriant tone, was the evening's soloist. She caught both the flicker of the young Sun- god and also found urgency in the flashy solo part"
– Mark Swed, Los Angeles Times
"The performance ( Stravinsky Les Noces) had plenty of fervor and clattering colors. Yet it was nuanced, dusky and organic.The soloists – dynamic Russian pianists ( Svetlana Smolina) were mesmerizing"
– Anthony Tomassini, NY Times, April, 2010
"Smolina displayed full command and charmed her way through Preludes of op. 28… Playing with vigor and vitality, easily shifting from one mood to another, sure of technique and subtle phrasing.The second part of program was devoted to Etudes and Waltzes.. the pianist produced dazzling effects entirely appropriate to the genre..Smolina brought audience close to frenzy, just as dear Fryderick did in his concerts."
– Gayle Williams, Richard Storm, Sarasota Herald Tribune, November, 2010
"Svetlana Smolina created a storming, breathing piano in Scriabin's Fantasy in B minor..."
– Paul Griffiths, the New York Times, 2005
This artist is presented in association with Live On Stage.
Borealis String Quartet
The Borealis String Quartet's "intense, focused style of playing" (Calgary Herald) has established them as one of the most dynamic, and exciting, ensembles of its generation. They have received international critical acclaim as an ensemble, praised for its fiery performances, passionate style, and refined, musical interpretation.
The quartet was founded in Vancouver, British Columbia in the fall of 2000. Since that time they have rapidly established a stellar reputation, touring extensively in North America, Europe and Asia, and performing to enthusiastic, sold-out audiences in major cities, including New York, Washington, DC, Los Angeles, San Francisco, Rome, Mainz, Shanghai, Taipei, Beijing, Toronto, Montreal, Ottawa and, of course, their home town of Vancouver.
Their recent performances on the Beethoven Series at the Metropolitan Museum in New York and at the Illsley Ball Nordstrom Hall in Seattle were critically lauded for their serious and dramatically engaging interpretations. In one season they were invited to play three times in New York alone, with performances at the Schneider Concert Series, the People's Symphony Concerts and at the Rockefeller Centre. In their hometown of Vancouver, they were invited to perform at the Aboriginal Pavilion during the 2010 Winter Olympic Games.
The Borealis has also served as String Quartet-in-Residence at the University of British Columbia for the past 10 years. They have also been invited to be the Quartet-in-Residence across North America and Mexico, including the June Music Festival in New Mexico, the Magic City Chamber Music Festival in Alabama, the Winter Chamber Music Festival in Arizona, Idaho University and the Aguascalientes Festival in Mexico. Since the summer of 2012, the Borealis has been the Quartet-in-Residence at the Casalmaggiore International Music Festival. Following their successes in Italy, they were invited to perform for the Canada Day Celebration July 2013 in Rome, Italy.
In 2012 the Borealis released two new recordings of music written especially for them. The first recording titled "Folk Songs" is mainly comprised of Taiwanese folk songs written and arranged by Che-Yi Lee, along with audience favorites like "Deep River" and "Chrysanthemum" by Puccini. The second recording, "Lullaby," consists of famous lullabies from around the world, arranged especially for the Borealis.
Exploring other mediums to share their passion, the Borealis has also created music videos and short films, including Beethoven Opus 59, No.3, which is often broadcast on Bravo Television and Knowledge Network, and was debuted at the Vancouver International Film Festival.
Although the Borealis is strongly committed to the great traditional quartet literature, they actively seek to promote new works and are strong advocates of Canadian music, including works by T. Patrick Carrabre, R. Murray Schafer, Omar Daniels, Barbara Pentland and Jocelyn Morlock. They have also worked closely with and commissioned music from Kelly-Marie Murphy, Imant Raminsh, Michael Conway Baker, and American composer Steven Dankner. B.C. composer John Oliver wrote a work for Zheng (a traditional Chinese instrument) and string quartet for the Borealis, which was recorded with virtuoso zheng performer Mei Han, entitled "Purple Lotus Bud." They have sought to take these works to many world stages where their performances have met with great success.
After their initial success in Taiwan, the Borealis was generously loaned a quartet of fine Italian instruments from the CHIMEI Culture Foundation, one of the leading string instrument collectors in the world. The beautiful instruments the Borealis performs on are a Giovanni Battista Rogeri violin (Cremona, 1698), a Lorenzo Storioni violin (Cremona, c 1780), a Pietro Giovanni Mantegazza viola (Milano, 1791), and a Lorenzo Storioni cello (Cremona, 1778).
The Borealis String Quartet would like to acknowledge the generous support of the Canada Council and the BC Arts Council. We are grateful for the financial assistance given to further their artistic ambitions and vision and bring Canadian music and culture to audiences abroad.
Los Angeles Cello Quartet
LA Cello Quartet is a project of Positive Motions Foundation initiated by Ruslan Biryukov, founder of the Glendale Philharmonic Orchestra. The ensemble was introduced first at the Los Angeles Philharmonic Fundraiser in Palos Verdes in May 2010. Music making by four charismatic cellists-soloists immediately attracted attention of the public and the quartet was instantly placed into a category of the leading chamber music groups.
RUSLAN BIRYUKOV is Founder of the Glendale Philharmonic Orchestra and Los Angeles Cello Quartet, Artistic Director of Positive Motions Concert Series in Los Angeles, Cellist Ruslan Biryukov known for his "superb artistry, passion and individuality." Mr. Biryukov represents a new generation of creative professional musicians whose artistic level is recognized not only by awards, but also by a worldwide audience. Ruslan was the only cellist ever invited to perform for 10 consecutive years solo recitals at the Sundays Live Concert Series in the Los Angeles County Museum of Art, the longest running live radio broadcasted concert series in the United States, as well as the only Russian cellist invited to solo with orchestra during the inaugural season of the Renée and Henry Segerstrom Concert Hall in Orange County. Recent appearances include Dvorak cello concerto performances with the Redlands Bowl Symphony and Marina Del Rey Symphony (Summer Series), Glendale Philharmonic ("Bestemming" Cello Concerto by Sharon Farber, World Premiere) and San Bernardino Symphony in Los Angeles. Memorable chamber music experience includes performances with world-renowned violinist Midori at the Disney Hall in Los Angeles, cellist Kirill Rodin at the Tchaikovsky Moscow Conservatory, and members of the Ysaye Quartet.
TREVOR HANDY enjoys an active career in Los Angeles where he serves as Principal Cellist of the Santa Barbara Symphony Orchestra, is a member of the Los Angeles Chamber Orchestra, Santa Barbara Chamber Orchestra, Hollywood Bowl Orchestra, and Long Beach Symphony Orchestra, and where he is a studio musician for Hollywood. He also plays regularly for LA Opera, on chamber music series, and at music festivals such as La Jolla Summerfest and Festival Mozaic. He is an adjunct faculty member at Westmont College.
MAXIM VELICHKINis an accomplished cellist, pianist, and harpsichordist who has been active as a soloist, chamber musician, and orchestra artist among an international circle featuring venerable conductors and headlining classical stars. He has worked with James Levine, Kurt Masur, Charles Dutoit, Yuri Temirkanov, Wolfgang Sawallish, Herbert Blomstedt, Christoph von Dohnanyi, Gabor Takacs-Nagy, Pinchas Zukerman, Sarah Chang, Maxim Vengerov, Yuri Bashmet, Dmitry Sitkovetsky, Bobby Mc Ferrin, Joshua Bell, Martha Argerich, Gabriela Montero, Renaud Capucon, Lynn Harrell, Misha Maisky, Frans Helmerson as well as many others. Maksim's performances have been featured on Radio Swiss Romande, WQED FM in Pittsburgh, National Radio and Television of Uzbekistan. Moreover, as an improviser and interpreter of contemporary and popular music Maksim's performance and recording career includes credits with noted musical celebrities Stevie Wonder, Chick Corea, Billy Childs, Burt Bacharach, Bobby McFerrin, Dwight Trible, Bitter:Sweet, Chris Botti, Bob James, Josh Groban, Red Elvises, Bernadette Peters, Natalie Cole, Alan Silvestri, Richard Thompson and many others. He performs and tours frequently with the Verbier Chamber Orchestra throughout North and South America, Europe, Asia, and Australia.
MIA BARCIA-COLOMBO was born and raised in Los Angelino. She began her musical studies at four years of age and began playing cello when she was eight with Bongshin Ko. At 10 she continued her studies at the prestigious Colburn School of the Performing Arts with Dr. Richard Naill. While at Colburn, Mia played with the Colburn Chamber Orchestra and participated in the Colburn School's "Honors Trio," which routinely performed in master-classes and in concerts on 105.1 K-MOZART'S broadcast, "Sunday's Live." In 2005, she competed and placed as a Laureate in the Sphinx Competition and a finalist at the Los Angeles Spotlight Awards. After high-school, she was accepted into the studio of Eleonore Schoenfeld at the University Of Southern California Thornton School Of Music, and also played principal cello in the American Youth Symphony until 2008. She completed her bachelor's degree in Cello Performance at the Peabody Conservatory of the Johns Hopkins University under the tutelage of Amit Peled.


text:
<?php
namespace ToolkitApi\CW;

use ToolkitApi\Toolkit;
use ToolkitApi\ToolkitInterface;

/**
 * Additional functionality for parsing PCML
 */
class DataDescriptionPcml extends DataDescription
{
    // array of simple types, PCML to old toolkit. Used in singlePcmlToArray().
    protected $_pcmlTypeMap = array('char'          => I5_TYPE_CHAR,
        'packed'        => I5_TYPE_PACKED,
        // 4 byte float
        'float'         => I5_TYPE_FLOAT,
        // data structure
        'struct'        => I5_TYPE_STRUCT,
        // omit INT from type map because we'll need program logic to determine if short or regular int.
        'zoned'         => I5_TYPE_ZONED,
        // TODO not sure if byte really maps to binary. No one knows what BYTE really does
        'byte'          => I5_TYPE_BYTE,
    );

    // PCML usage mapping
    protected $_pcmlInoutMap = array('input'         => I5_IN,
        'output'        => I5_OUT,
        'inputoutput'   => I5_INOUT,
        // inherit means inherit from parent element, and if no parent element, do INOUT.
        // TODO implement "inherit" more precisely, checking parent element's usage.
        'inherit'       => I5_INOUT,
    );

    // maintain an array of pcml structures
    protected $_pcmlStructs = array();

    /**
     * Constructor takes a PCML string and converts to an array-based old toolkit data description string.
     *
     * @param string $pcml The string of PCML
     * @param ToolkitInterface $connection connection object for toolkit
     * @throws \Exception
     */
    public function __construct($pcml, ToolkitInterface $connection)
    {
        $this->setConnection($connection);

        // Convert PCML from ANSI format (which old toolkit required) to UTF-8 (which SimpleXML requires).

        $encoding = $connection->getConfigValue('system', 'encoding', 'ISO-8859-1'); // XML encoding

        /*
         * Look for optionally set <?xml encoding attribute
         * and change encoding if attribute is set and not UTF-8
         * or change encoding if attribute is not set and ini encoding is not UTF-8
         */
        $pcml = trim($pcml);
        $matches = array();
        $regex = '/^<\?xml\s.*?encoding=["\']([^"\']+)["\'].*?\?>/is';
        if (preg_match($regex, $pcml, $matches) && $matches[1] != 'UTF-8') {
            //remove xml-tag
            $pcml = substr($pcml, strlen($matches[0]));
            $pcml = mb_convert_encoding($pcml, 'UTF-8', $matches[1]);
        } elseif ($encoding != 'UTF-8') {
            $pcml = mb_convert_encoding($pcml, 'UTF-8', $encoding);
        }

        //program name is stored as: /pcml/program name="/qsys.lib/eacdemo.lib/teststruc.pgm"
        $xmlObj = new \SimpleXMLElement($pcml);

        // get root node and make sure it's named 'pcml'
        if(!isset($xmlObj[0]) || ($xmlObj[0]->getName() != 'pcml')) {
            throw new \Exception("PCML file must contain pcml tag");
        }

        $pcmlObj = $xmlObj[0];

        // get program name, path, etc.
        if(!isset($pcmlObj->program) || (!$pcmlObj->program)) {
            throw new \Exception("PCML file must contain program tag");
        }
        $programNode = $pcmlObj->program;

        $pgmAttrs = $programNode->attributes();

        /**
         * sample:
         * <program name="name"
         * [ entrypoint="entry-point-name" ]
         * [ epccsid="ccsid" ]
         * [ path="path-name" ]
         * [ parseorder="name-list" ]
         * [ returnvalue="{ void | integer }" ]
         * [ threadsafe="{ true | false }" ]>
         * </program>
         */

        // let's focus on name, path, and entrypoint, the only attributes likely to be used here.
        $path = (isset($pgmAttrs['path'])) ? $pgmAttrs['path'] : '';
        $entrypoint = (isset($pgmAttrs['entrypoint'])) ? $pgmAttrs['entrypoint'] : '';

        // Note: if entrypoint is supplied, it's the function in a service program. "name" will be the same as entrypoint.
        // if entrypoint is not supplied, name is the actual program name.
        // Therefore, "name" seems somewhat worthless.

        // break up path, separated now by slashes. can be varied lib and pgm.
        // remove the /qsys.lib that may be in front but only if it's simply qualifying another library. qsys may be the actual program library, too.

        $objArray = $this->splitPcmlProgramPath($path);
        if ($objArray['lib']) {
            $pgmName = "{$objArray['lib']}/{$objArray['obj']}";
        } else {
            $pgmName = $objArray['obj'];
        }

        // now add the entrypoint, if any, as a procedure/function.
        if ($entrypoint) {
            // append the entry point enclosed in parentheses.
            $pgmName .= "($entrypoint)";
        }

        // Now create data description array.
        $dataDescriptionArray = $this->pcmlToArray($xmlObj);

        //Change the encoding back to the one wanted by the user, since SimpleXML encodes its output always in UTF-8
        $pgmName = mb_convert_encoding($pgmName, $encoding, 'UTF-8');
        mb_convert_variables($encoding, 'UTF-8', $dataDescriptionArray);

        // call parent's constructor with:
        //$descObj = new DataDescriptionPcml($description, $connection);
        parent::__construct($pgmName, $dataDescriptionArray, $connection);
    }

    /**
     * given a single ->data or ->struct element, return an array containing its contents as old toolkit-style data description.
     *
     * @param \SimpleXmlElement $dataElement
     * @return array
     */
    public function singlePcmlToArray(\SimpleXmlElement $dataElement)
    {
        $tagName = $dataElement->getName();

        // get attributes of this element.
        $attrs = $dataElement->attributes();

        // both struct and data have name, count (optional), usage
        $name = (isset($attrs['name'])) ? (string) $attrs['name'] : '';
        $count = (isset($attrs['count'])) ? (string) $attrs['count'] : '';
        $usage = (isset($attrs['usage'])) ? (string) $attrs['usage'] : '';
        $structName = (isset($attrs['struct'])) ? (string) $attrs['struct'] : '';

        // fill this if we have a struct
        $subElements = array();

        // should all be data
        if ($tagName == 'data') {

            $type = (isset($attrs['type'])) ? (string) $attrs['type'] : '';

            // if a struct then we need to recurse.
            if ($type != 'struct') {

                // regular type (char, int...), not a struct, so the data element's name is just 'name'.
                $nameName = 'Name';
            } else {
                // it IS a struct.

                // old toolkit uses DSName for a data structure's name.
                $nameName = 'DSName';

                $theStruct = null; // init

                // look for matching struct
                if ($this->_pcmlStructs) {
                    // TODO verify type with is_array and count
                    foreach ($this->_pcmlStructs as $possibleStruct) {
                        $possStructAttrs = $possibleStruct->attributes();
                        if ($possStructAttrs['name'] == $structName) {
                            $theStruct = $possibleStruct;
                            $structAttrs = $possStructAttrs;
                            break;
                        }
                    }
                }

                // if struct was not found, generate error for log
                if (!$theStruct) {
//                    $this->getConnection->logThis("PCML structure '$structName' not found.");
                    return null;
                }

                // if we got here, we found our struct.

                // count can also be defined at the structure level. If so, it will override count from data level)
                if (isset($structAttrs['count'])) {
                    $count = (string) $structAttrs['count'];
                }

                // "usage" (in/out/inherit) can be defined here, at the structure level.
                $structUsage = (isset($structAttrs['usage'])) ? (string) $structAttrs['usage'] : '';

                // if we're not inheriting from our parent data element, but there is a struct usage, use the struct's usage (input, output, or inputoutput).
                if (!empty($structUsage) && ($structUsage != 'inherit')) {
                    $usage = $structUsage;
                }

                $structSubDataElementsXmlObj = $theStruct->xpath('data');
                if ($structSubDataElementsXmlObj) {
                    foreach ($structSubDataElementsXmlObj as $subDataElementXmlObj) {

                        if ($subDataElementXmlObj->attributes()->usage == 'inherit') {
                            // subdata is inheriting type from us. Give it to them.
                            $subDataElementXmlObj->attributes()->usage = $usage;
                        }

                        // here's where the recursion comes in. Convert data and add to array for our struct.
                        $subElements[] = $this->singlePcmlToArray($subDataElementXmlObj);
                    }
                }
            }

            $length = (isset($attrs['length'])) ? (string) $attrs['length'] : '';
            $precision = (isset($attrs['precision'])) ? (string) $attrs['precision'] : '';

            //$struct = (isset($attrs['struct'])) ? (string) $attrs['struct'] : ''; // if this is pointing to a struct name

            // find CW data type equivalent of PCML data type
            if (isset($this->_pcmlTypeMap[$type])) {
                // a simple type mapping
                $newType = (string) $this->_pcmlTypeMap[$type];
            } elseif ($type == 'int') {
                // one of the integer types. Need to use length to determine which one.
                if ($length == '2') {
                    $newType = I5_TYPE_SHORT;
                } elseif ($length == '4') {
                    $newType = I5_TYPE_INT;
                } else {
                    $newType = ''; // no match
                }
            } else {
                $newtype = '';

            }

            $newInout = (isset($this->_pcmlInoutMap[$usage])) ? (string) $this->_pcmlInoutMap[$usage] : '';

            // create new length using precision if necessary
            if ($precision) {
                $newLength = "$length.$precision";
            } else {
                $newLength = $length;
            }
        }

        // count
        $newCount = 0; // initialize
        $newCountRef = '';
        if (is_numeric($count) && ($count > 0)) {
            $newCount = $count;
        } elseif (is_string($count) && !empty($count)) {
            // count is character, so it's really a countref
            $newCountRef = $count;
        }

        $element = array();

        $element[$nameName] = $name;

        // if not a struct, provide data type.
        if ($type != 'struct') {
            $element['Type'] = $newType;
        }

        if ($newCount) {
            $element['Count'] = $newCount;
        }
        if ($newCountRef) {
            $element['CountRef'] = $newCountRef;
        }
        if ($newLength) {
            $element['Length'] = $newLength;
        }
        if ($newInout) {
            $element['IO'] = $newInout;
        }

        if (count($subElements)) {
            $element['DSParm'] = $subElements;
        }

        return $element;
    }

    /**
     * given an XML object containing a PCML program definition, return an old toolkit style of data description array.
     *
     * @param \SimpleXMLElement $xmlObj
     * @return array
     */
    public function pcmlToArray(\SimpleXMLElement $xmlObj)
    {
        $dataDescription = array();

        // put structs in its own variable that can be accessed independently.
        $this->_pcmlStructs = $xmlObj->xpath('struct');

        // looking for ->data and ->struct.
        $dataElements = $xmlObj->xpath('program/data');

        if ($dataElements) {
            foreach ($dataElements as $dataElement) {

                $dataDescription[] = $this->singlePcmlToArray($dataElement);
            }
        }

        return $dataDescription;
    }
}

redpajama_set_name: RedPajamaGithub


What can you expect when you visit the GROVE?
The GROVE has a friendly, comfortable atmosphere. The words people use when describing their first impressions are family, love, and warmth. It has the feeling of home. You can always find a smiling face, a strong handshake, and warm hug. You can come in just as you are, but you always leave a little bit changed. The love of God is reflected in the congregation, staff, and programs.
We believe that the Bible is the absolute truth, the verbally inspired word of God. There are a lot of opinions and versions of truth in the world and it is sometimes hard to know what to believe in. But Jesus Christ is the truth and that is what is preached and taught here at the GROVE.
Serving God is not a boring dead experience. Believe it or not church is actually fun. It may be a lively discussion during fellowship, or a funny comment made in Wednesday night Bible class that causes everyone to erupt into laughter together. It might be a wonderful feeling of unity as you sing worship songs together as a congregation, or a closeness you feel to the Lord as He speaks to you through the sermon. It may be a smile or a hug from a little child as you help in one of the classes, or maybe a tearful "thank you" as you give to someone in the community. Whatever it is you are doing for the Lord at the GROVE, it is fun!
The service starts at 11:00 am and begin with praise and worship followed by the sermon. The music style is contemporary with a mix of new, old, and some original songs. There are several musicians and a team of singers. The preaching style is honest, straight-forward, and Christ-centered. After service people usually end up hanging out and talking, so there is time to get to know your church family as well as talk to the Pastor.
Teens (Jr High and High School students) participate in the worship service at 11:00 am then break out into Youth Group during the Sunday message. For this age group we feel it is extremely important to keep their focus. So we provide the message especially geared for this age group. It's delivered in way they can ask questions and interact with the message.
During our 11 AM Sunday service we conduct Children's Church with a similar message designed especially for kids K-5th grade in the Wonder Woods. A totally kid friendly and kid safe environment. We also have engaging nursery (sprouts) and toddlers (seedlings) programs available.
Life groups are groups of people who get together to study the Bible and learn from one another how to live it out in their daily lives. The community found in Life Groups is an effective place to have consistent, sustained spiritual growth. These groups cover a variety of subjects and are typically kept small (6-12 people) to allow you the opportunity to get to know each other and really get plugged in to the GROVE.