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Chicago Organization Launches Kickstarter For Community Newsroom
Inspirational, News
City Bureau, a journalism lab located in Chicago, has announced a new effort to strengthen the connection between local communities and the journalism that directly reports on them. Through a Kickstarter with a goal of $10,000 from a total of 1,000 donors, the organization hopes to reveal a fully capable newsroom that can be utilized by community members this fall.
"Journalism works better when the people affected by media coverage play a role in creating it," reads the campaign's fundraising site. "That's why City Bureau is building a public newsroom and asking 1,000 of you to be a part of it from the very start."
Once the goal is reached, City Bureau will open their Woodlawn office once a week to work as a public newsroom for local journalists and media professionals to have a space to collaborate and also work closely with the people they'll be reporting for.
"For working journalists, the public newsroom is a place to find and shape stories in direct conversation with readers," reads the KickStarter page. "For the public, the newsroom is a front-row seat into how journalism gets made, and a chance to impact the way their neighborhoods are covered in the media."
As of this writing, the project has raised nearly $6,800 from just under 350 donors, who will be viewed as founders, with 19 days left to reach its goal.
With journalism moving progressively further from its original function and turning into something new altogether, it's important to support organizations that are determined to make sure that it still serves the purpose of informing the community. City Bureau is working to, not only do that, but to make the community a direct part of the process.
This is a great organization to support and develop young writers in the Chicago community.
Photo Credit: Darryl Holliday
Chicago, City Bureau, Kickstarter, Public Newsroom


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Media advisory: Drive for the Nobel Prize international symposium approaching
By Kathleen Maclay, Media relations| October 20, 2017 October 20, 2017
October 20, 2017 October 20, 2017 Kathleen Maclay
ATTENTION: Reporters and members of the public interested in science journalism, higher education, research and Asia
WHAT: "Drive for the Nobel Prize," an international symposium exploring Nobel-caliber research at the University of California, Berkeley, and throughout Asia.
The program is sponsored by UC Berkeley's Center for Japanese Studies and the Japanese Society for the Promotion of Science.
WHEN: Tuesday and Wednesday, Oct. 31-Nov. 1. The programs are free and open to the public.
WHERE: International House, 2299 Piedmont Ave., near Memorial Stadium
WHO: Three Nobel Prize winning scientists from UC Berkeley, Japan and Taiwan will speak on the first day.
They will include: Japanese physicist Takaaki Kajita of the University of Tokyo, who received the prize in physics in 2015 for work proving that elementary particles called neutrinos have mass; Berkeley physicist Saul Perlmutter, who led one of two teams that simultaneously discovered the accelerating expansion of the universe and claimed the prize in 2011; and Yuan T. Lee, an emeritus professor at Berkeley who won the Nobel for research in particle chemistry in 1986 and the first Taiwanese Nobel Prize laureate, who today nurtures scientific talent in Taiwan.
Other participants will include leading science journalists, historians and others discussing journalism and the Nobel and the impact of the Nobel on institutions. Young researchers studying dark matter, spontaneous symmetry and materials' "weirdness," and species' interactions in natural landscapes also will address the Nobel Prize's role in a scientific network of public scholars and as an incentive in the world of research.
A member of a Nobel Prize selection committee also will make a rare public appearance.
The program schedule is available online. Click here for a map, parking and public transit information.
Topics: global, history, honors and awards, Japan, science
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Timeless Italy Travels
Dream, Discover, Experience
Tag: royalty
Casanova's Intimate Confessions
March 16, 2013 cnels2
Giacomo Girolama Casanova's Memoir, "History of My Life."
"I will begin with this confession: whatever I have done in the course of my life, whether it be good or evil, has been done freely; I am a free agent."
Giacoma Casanova entered this world practically on-stage. Born to parents of the theatre in 1725 Venice, he lived his theatrical lifestyle with passion. His true occupation has been summed up as quick-witted, with steely nerves, luck, social charms, and the knack for gaining money from the gratitude of some or by trickery of others. He was known by his contemporaries as extraordinary, with a far-reaching intellect and a rare curiosity about life. Known to have hobnobbed with Voltaire, Ben Franklin, Catherine the Great and Mozart, Casanova had no lack of social skills.
His memoir, penned by his own hand beginning in 1789, exposed him as a man far more intellectual than the playboy figure painted of him on film. Had it not been for his many sexual escapades, he would have been a multi-talented dignitary of some kind. But his lust for the pleasure and presence of the opposite sex was, for him, his undoing.
"I have always loved and done all that I could to be loved. I was born for the opposite sex. All of my life I was the victim of my senses. I have delighted in going astray. Cultivating pleasure was always the chief business of my life…"
His original erotic manuscript, all 3,700 pages, was purchased in 2010 for the modest amount of $9.6 million. Now kept in the Bibliotheque nationale de France in Paris, in two black archival boxes, those who have examined it have described his handwriting as elegant and precise. It had been hidden away in private hands since Casanova's death in 1798. The French government had every intention of obtaining the original manuscript, and did so by an anonymous benefactor.
The manuscript, simply titled The Story of My Life, did formerly appear in 1821. Even though it had been heavily censored, it was denounced from the pulpit and put on the Vatican's Index of Prohibited Books. Since then, society has grown more tolerant of morally explicit material. In 2011, several of the pages-alternately provocative, ribald, boastful, philosophical, tender and somewhat shocking, were put on public display in Paris with plans to show them in Venice as well. Although Casanova was born in Venice, a French government commission has consecrated it a 'national treasure,' in France. He spent much of his life in Paris and spoke predominately French, which was the language of intellectuals in the 18th century.
Casanova was clearly one of Europe's most captivating and misconceived characters. According to writer Tom Vitelli, a leading American Casanovist, "he would have been surprised to discover that he is remembered first as a great lover. Sex was part of his story, but it was incidental to his real literary aims. He only presented his love life because it gave a window onto human nature."
Already an established writer, Casanova translated 'The Iliad' into his Venetian dialect, wrote a science fiction novel along with several mathematical dissertations. He lived the last fourteen years of his life at the hidden Castle Dux in Bohemia, which today is the Czech Republic, as the librarian for Count Waldstein. It was here he wrote his notorious memoir.
Castle Dux
Miraculously, Casanova's manuscript survived in excellent condition. Entrusted to his descendants, it was kept for twenty-two years, then sold to Friedrich Arnold Brockhaus, a German publisher from Leipzig. The Brockhaus family kept it safely tucked away for almost 140 years. Escaping a direct hit by a bomb in World War II, a family member pedaled it on a bicycle across Leipzig to be stored in a bank security vault. Winston Churchill inquired after its fate when the U.S. Army occupied the city in 1945. It was finally transferred back to its German owners in Wiesbaden by American truck.
The first French uncensored edition was published in 1960, soon to be followed by an English edition in 1966. Casanova has since been cast as a most engaging luminary, a celebrity of sorts. "It's a wonderful point of entry into the study of the 18th century. Here we have a Venetian, writing in Italian and French, whose family lives in Dresden and who ends up in Dux, in German-speaking Bohemia. He offers access to a sense of a broad European culture," says Vitelli. Most of his memoir has been verified by historians as accurate. A fantastic read, his more than 120 notorious love affairs are intermingled with duels, swindles, arrests, escapes, gamblers, meetings with royalty, and generally living on the edge.
"The readers of these Memoirs will discover that I never had any fixed aim before my eyes, and that my system, if it can be called a system, has been to glide away unconcernedly on the stream of life, trusting to the wind wherever it lead."
Giacomo Girolama Casanova
* http://pbs.org/wgbh/masterpiece/casanova/casanova.htm.
* http://smithsonianmag.com/travel/Who-Was-Casanova.html
* The Complete Works of Jacques Casanovede Seingalt by Giacomo Casanova, http://gutenberg.org/ebooks/2981
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Wine and Liquors, Secrets of the Monks of Padua
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Victorian elegance combines with a modern floor plan to make this a dream house without equal. A wrap-around porch and rear deck add lots of extra living space to the roomy first floor, which features a formal parlour and dining room just off the central entry. Informal areas at the rear of the house are wide-open for family interaction. Gather the crew around the fireplace in the family room, or make supper in the kitchen while you supervise the kids' homework in the sunlit breakfast room. Three bedrooms, tucked upstairs for a quiet atmosphere, feature sky lit baths. And, you'll love the five-sided sitting nook in your master suite, a perfect spot to relax after a luxurious bath in the sunken tub.
First Floor – 1,260 sq. ft.
Second Floor – 1,021 sq. ft.
Basement – 1, 186 sq. ft.
Garage – 840 sq. ft.


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Consulting and Cultivating Collective Leadership
Full Spectrum Sustainability
Film Work
Conferences and Symposia
The Praise
Lawrence Ellis is an internationally respected complex systems leader, consultant and coach operating at the intersection of human, ecological, technological and other systems. His main focus is on Collective Leadership Intelligence, leveraging the imaginations, skills, and resources of leaders to create a culture that would be welcomed by most people around the world. Lawrence uses a range of vehicles to help shift our global culture away from ecological destruction, extractive and exploitative economics, and inhumane political and social systems… towards a life-honoring culture.
His unique approach combines the best of contemporary innovations and time-honored traditions to promote systemic, large-scale change. A Rhodes Scholar who took his graduate degree at Oxford University, Lawrence has worked with executive leaders, filmmakers, Indigenous elders, fellow visionaries and others to find solutions for a viable future for humanity, other species and the planet.
Lawrence is the CEO Emeritus and Founder of Paths to Change Consulting, a network of thought-leaders developing optimally effective organizations, and catalyzing strategic changes in organizations, communities and large systems. He is a film producer with the award-winning film company Planetary Collective (winners of a 2013 Environmental Media Award), has taught numerous workshops, and led many sold-out transformational retreats. Lawrence executive-produced the global tele-summit, Indigenous Wisdom & Modern Science, featuring 20 internationally acclaimed leaders. In 2011 Lawrence was honored as a visionary change leader in Mindy Audlin's book, Let It Begin With Me: 21 Voices Of The New Peace Movement.
He is a Trustee of World Merit, and serves as the Lead Sustainability Engager/Advisor with/to its 100,000 young leaders, ages 18-35, in more than 100 countries around the globe.
A note from Lawrence:
"For decades I was passionate about the environmental challenges of our time, from climate change to species extinction, and the crisis of consciousness behind them. I remain committed to addressing these potentially cataclysmic threats, not only for human beings, but also for other systems and species on the planet. Other drivers that will influence our future, like Big Data and Artificial Intelligence (AI) are of equal concern. Some of these new advances carry tremendous promise, but may also contain untold perils. As I investigated this landscape and where my efforts might be of most use, I realized that for decades much of my right livelihood as a Full-Spectrum Sustainability expert was focused on developing and supporting world changing leaders and also leveraging my own leadership capabilities in support of a viable future. My training as a complex systems theorist and consultant teaches me that there are innovative ways to form collaborations between human organizations and societies, as well as computer data and AI.
My personal awakening was inspired by my work with leadership cohorts, such as AVAAZ.org, a global network of 43 million people who work to create solutions around pressing issues such as climate change, ethnic cleansing, and systemic abuses of power.
Similarly I was inspired by my work with top leaders in Silicon Valley in the American Leadership Forum, one of the preeminent leadership fellowships in the U.S. Their mission, which I'll paraphrase, speaks to the heart of my own work:
'to build diverse networks of leaders to support the creation of a Silicon Valley that is equitable, resilient and thriving… thus able to courageously navigate the biggest challenges of our time.'
While I continue to care deeply about the sustainability and inequity challenges that face our time, I have come to see that the highest leverage point for change is through Collective Intelligence, and in particular, Collective Leadership Intelligence for transforming the world we have into the world we want."
Lawrence's work as a Leadership Development Coach has proven to have far-reaching impact, not only for his clients, but for the organizations, communities and industries with which he has consulted. Lawrence brings 25 years experience as an executive and leadership coach. He is passionate about supporting clients to access their full presence, develop their highest visions, navigate challenges skillfully, and produce extraordinary results.
For more about Executive Coaching, CLICK HERE.
Lawrence uses Collective Leadership Intelligence, Complex Systems, and Organizational Consulting to assist individuals, organizations, and movements to become more effective and efficient.
For more about the work of Lawrence and his colleagues at Paths To Change Consulting, visit their ONLINE HOME.
One of Lawrence's unique contributions to the sustainability movement is what he calls, Full-Spectrum Sustainability™ – an integrated, whole-system response to the calling for humans to step into a new way of being.
For more about Full Spectrum Sustainability, CLICK HERE.
Learn more about PLANETARY.
Other Film Work
Lawrence serves as Senior Advisor and Associate Producer of a film called Hidden History, a documentary about the sacred spirituality of Two Spirits, Twin Spirits and their counterparts among Indigenous peoples on all continents.
He is also Executive Producer of the film, A Rare Interview with Paula Gunn Allen, the great Two-Spirit poet, novelist, scholar and activist.
In addition, Lawrence serves as Executive Producer of the film Two Spirit, Twin Spirit – Historic Gathering in 2008.
As a respected thought-leader, Lawrence has been invited to participate in a variety of global conferences and symposia, sharing his insights and expertise in the areas of sustainability leadership, Indigenous wisdom and modern science collaborations, transformational activism, and complexity-science/complex-system organizational consulting.
For sampling of Conferences and Symposia, CLICK HERE.
Lawrence has for years immersed himself in many of the ancient connective traditions, and uses skillful means to bring their transformative messages and practices to a variety of audiences. He has coined the term the Omniview Effect™ to describe his unique approach to using whatever skillful means are appropriate – from ancient wisdom traditions to modern innovations – to awaken or deepen in others this transformative sense of interconnectedness.
HERE is a small sampling of Lawrence's transformative teaching engagements.
Lawrence's dedication to his right livelihood isn't just focused in his work, but is also interwoven with engaged activism on behalf of individual, group, community and planetary wellbeing, in service to a truly sustainable and life-honoring culture.
HIGHLIGHTS of Transformative Activism.
Over the years, Lawrence has earned much praise from his clients and colleagues for his work, as well as numerous awards and distinctions. A small sampling includes:
Selected as a Geraldine R. Dodge Foundation New Jersey Scholar
Awarded a Morehead-Cain Scholarship for undergraduate study at The University of North Carolina at Chapel Hill. Inspired by the Rhodes Scholarship at Oxford University, the Morehead-Cain Scholarship is generally regarded as the most prestigious undergraduate merit scholarship in the United states.
Inducted into Phi Beta Kappa, the oldest and most widely known academic honor society in the United States.
Awarded a Rhodes Scholarship for graduate study at Oxford University.
Below are a a small selection of the hundreds of recommendations and words of praise for Lawrence's contributions:
"Lawrence Ellis and Paths to Change are top-tier in so many regards… I can assure you that to this day, Lawrence and other team members remain beloved by dozens of people throughout the Paterson community and the Public School District who admire the consummate skill, educational reform advocacy, and caring and compassion Lawrence consistently brought to reforming their schools…. The overall engagement was a huge success. Three to four years after the initial work, the District realized significant gains in educational outcomes."
— Laura Moran, former Director of Organizational Development, The Stupski Foundation, Chief of Staff, San Francisco Unified School District
"Over the years, several Fellows have commented that Lawrence's workshops and consultations have literally 'changed their lives,' making them better healthcare professionals and community leaders, and better human beings."
— Johanna Infantine, Associate Director, Fellowships, Health Forum / Health Research & Education Trust (HRET of the American Hospital Association)
"Sematech decided to sponsor a major retreat for its top leaders. My team and I were faced with a significant set of challenges: design the retreat process, coordinate a team of eight facilitators throughout the three-day event, and facilitate the top five executives in a closed-door session to produce critical business outcomes. Sematech's leadership was comprised of the highest-ranking executives from the nation's semiconductor industry. They expected – and required – consummate excellence. It was a high visibility, high stakes challenge for my team and me. To ensure success, I turned to Lawrence Ellis. We had worked with Lawrence on a few occasions in the past, and knew that if anyone could help make this is a success, it was him. He led an intensely collaborative process with my team that produced a stellar retreat design. He coached our facilitation team in advance, and worked with one of my direct reports to coordinate them seamlessly at the event. Finally, I accompanied him into the lion's den – a meeting with the top executive leaders. Despite the strong egos in the room, Lawrence skillfully facilitated them to alignment on all key decisions, within the allotted time. Participants rated the retreat a stunning success – no small feat for busy executives who generally resist taking off several days for retreats of this sort. We owed this in large part to the masterful consulting and facilitation of Lawrence Ellis."
– Olivia Miller Snapp, Former Director of Quality & Development, Sematech (the U.S. Semiconductor Consortium)
Other Awards & Acclaim
Invited by Mahatma Gandhi's grandson to represent the U.S. in a yatra (journey) in India commemorating Gandhi and Martin Luther King.
Selected as the emcee for the interfaith ceremony for the first annual César Chávez State Holiday in California.
Selected to give the keynote address at the interfaith service that kicked off the San Francisco version of the "Day of Decision" protests, the international protests that occurred on the day that the California Supreme Court upheld Proposition 8, the California ballot proposition and state constitutional amendment banning same-sex marriage.
You can reach me directly by phone at (510) 444-7284. Or, fill out the form below and I'll get right back to you.
© Copyright Lawrence Ellis. All rights reserved.
Site design by Benton Webs.


TORONTO (October 10, 2018) – Northleaf Capital Partners (Northleaf) today announced that funds managed by Northleaf made a growth capital investment in Lifemark Health Group (Lifemark), a portfolio company of Audax Private Equity (Audax). Lifemark, headquartered in Toronto, is a leading provider of physiotherapy, independent medical assessments and homecare services across Canada. Northleaf's investment will be used to support Lifemark's acquisition-oriented growth strategy.
Northleaf Capital Partners is an independent global private markets fund manager with more than US$11 billion in private equity, private credit and infrastructure commitments under management on behalf of public, corporate and multi-employer pension plans, endowments, foundations, financial institutions and family offices. Northleaf's 110-person team, located in Toronto, Montreal, London, New York, Chicago, Menlo Park and Melbourne, is focused exclusively on sourcing, evaluating and managing private markets investments globally. Northleaf's portfolio includes more than 250 active investments in 14 countries, with a focus on mid-market companies and assets. For more information on Northleaf, please visit www.northleafcapital.com.
Lifemark Health Group is a diversified healthcare company in business since 1998 and has grown by acquisition over the past 20 years to include over 200 facilities across Canada. Lifemark has facilities in eight provinces providing community rehabilitation services, medical assessments and workplace health & wellness services. Since its inception, the company has focused on bringing together the top medical and rehabilitation practitioners to deliver the highest quality health care to clients. Through all of its divisions, Lifemark represents a consolidation of 3,500 clinical practitioners and client service support staff.
Audax Private Equity has been focused on building leading middle market companies since its founding in 1999. Audax has invested $5 billion in 117 platform and 706 add-on companies. Through its disciplined Buy & Build approach, Audax seeks to help platform companies execute add-on acquisitions that fuel revenue growth, optimize operations, and significantly increase equity value. Audax Group is an alternative asset management firm specializing in investments in middle market companies. With offices in Boston, New York, and San Francisco, Audax Group has $13 billion in assets under management across its Private Equity, Mezzanine, and Senior Debt businesses. For more information, visit the Audax Group website www.audaxgroup.com.


Kat's Weekly Reflection of Gratitude: The Privilege of Voting – Travel. Garden. Eat.
One of the only blessings coming from Hurricane Sandy is a brief respite from the usual tenor of political campaigns at this juncture, with the election for President of the United States now only a few days away. Other important offices, at the federal, state and local levels, are up for grabs in this election, as well. In many states, important constitutional amendment questions are posed to the electorate, in some cases asking the populace to forever determine constitutional rights of others in our society.
Whatever your political affiliation — whether you swing left or right, red or blue, or like many, somewhere in the middle — spend the next few days educating yourself on the candidates and the issues that are going to present themselves on your ballot. Really educate yourselves . . . I am not talking about reviewing the latest Facebook updates, tweets on Twitter or, as entertaining as it is, relying on the Daily Show as your sole source of political discernment.
The Lincoln Memorial ~ Washington, D.C.
Voting is a privilege that we should hold sacred. Our vote is our voice in an election, no matter how quiet or small we may feel at times.
Every vote counts. Every vote matters. If you have not participated in early voting, exercise your right to vote on Tuesday, November 6th.
You are a wise voter-advocate, Kat. As I sit in the booth and shake my head next Tuesday, I am going to think of your words!
The sentiment about exercising your right to vote is timeless. Today is the day if you haven't already … vote, and make your voice heard. I believe love can trump hate, and I hope kindness and our American tradition of inclusiveness will prevail.


It's been almost two years since Overwatch debuted for PC.
Junkrat was featured getting a pirate-themed skin that can be unlocked via loot boxes or in-game cash. There's also hints that every skin from every event since the game's launch, will also become available.
Blizard's mega-blockbuster "Overwatch" is now one of the top games that are being played by gamers from all over the world and with a recent leakage of a video which teases information about upcoming Overwatch's Anniversary Event way before any official confirmation and along with it, the leak also provide information on its release schedule which begins from May 22nd, 2018. To access it, all you'll have to do will be to log in on the game.
For those not already into Overwatch, Blizzard has something for you as well.
One first goodie brought by the two year anniversary would be the game itself.
The Overwatch cast judging your Silver play. Therefore, Blizzard chose to give them the chance to make up their mind.
Finally a free weekend is also set to take place on the weekend of the anniversary (May 25 through May 29) which will give everyone a good chance to dive in.
The two year anniversary event has some surprises for the Overwatch veterans as well. It will have placement matches, skill tiers, and leaderboards, just like regular Competitive play. We're not told which skins are being added to the Legendary Edition, or how much it will cost. Including the extremely entertaining dance emotes that were only available for last year's anniversary event. It also confirms that brawls from the previous event will make a return.
Special loot boxes will also be making a appearance with Legendary Anniversary Loot Boxes guaranteeing players some rare content.


♠ Missouri–born, Louisville, Kentucky–raised singer and songwriter who is also an in–demand sound engineer.
♠♠ Based in Brooklyn, but raised in Louisville, singer–songwriter Dawn Landes has been writing songs for most of her life, and already has more than a decade of experience as a professional producer and engineer. After leaving NYU where she studied psychology and literature, Landes began honing her production and engineering skills, working at Stratosphere Sound (owned by James Iha, Adam Schlesinger, and Andy Chase), and at Philip Glass' personal recording studio, before launching Saltlands Studio in Brooklyn with partners Steve Salett and Gary Maurer.
♠♠ Her new album Bluebird was produced in collaboration with good friend Thomas Bartlett (known for his work with The National, Sharon Van Etten, Rufus Wainwright, Antony and the Johnsons, and many others), and features contributions from Tony Scherr, Rob Moose, and Norah Jones.
♠♠ Press coverage of Bluebird will understandably present this album as Dawn's answer to her ex's "divorce record". However, like any great songwriter, she's abstracting her personal narratives enough to leave them open to interpretation and a larger meaning. Bartlett's spartan production keeps the vibe intimate, making it easy to connect with these naked and honest songs which manage to rise above the context in which they were written. In the end, the fact that Bluebird is Landes' way of processing the overwhelming emotions she dealt with after her divorce doesn't matter — there are two sides to every story, and this is hers.
♠♠ When Dawn Landes released Sweet Heart Rodeo in 2010 (recording date: August, 2008 — November, 2008), she was married to fellow singer and songwriter Josh Ritter. In 2011 that marriage — which lasted 18 months — came apart. His account appeared on Beast in Its Tracks and in press interviews. Landes remained silent and kept busy as an engineer and performer. Bluebird is her divorce record. It's an intimate ten–song set crafted with her characteristic melodic and lyric flair. It was sparsely co–produced with Thomas Bartlett (aka Doveman), who also plays piano and keyboards. Rob Moose plays guitars and strings, while Tony Scherr and Catherine Popper alternate on bass. Little more than 30 minutes long, the album is drenched in an airy Americana that allows the poignancy in its songs to resonate naturally. Nothing here is heavy–handed. The title cut's melody and pace are cheery, yet the lyric metaphor contrasts considerably. "Try to Make a Fire Burn Again" is direct. Its lithe fingerpicking, whispering keyboards and understated bassline paint around a stiletto–pointed rhyme: "Don't think I'm gonna understand...Don't you wanna love me all over again...Don't you wanna see me, mistreat me/Try to make a fire burn again." The very next track, "Bloodhound," is midtempo bluegrass dressed in witty, sharp–tongued anger. "Heel Toe" is an electric country waltz about cautiously moving on, balancing desire with vulnerability and openness. "Cry No More," one of two tracks with Norah Jones' harmony vocals and piano, reveals determination balanced by a whistling–past–the–graveyard hope that as Landes sings, her words become the physical manifestation of her resolution. On "Love Song," Jones' piano fills accent the guitars as Landes sings "...I can't count on anything but the day and night/I wanna write you a love song with my life..." The words drip from her mouth clear as water with no unnecessary syllables. Jones' harmony underscores the notion that truth is transparent: it doesn't tell, it shows. On "Home," Landes and Bartlett deliver a waltz to frame a lyric expressing profound loneliness. In an empty room, the singer prays to transcend her pain, all while remaining present for it. Given that this is a frank account of a life–altering event, she delivers these well–crafted songs with dignity and grit, sans excess or self–indulgence. Bluebird reveals Landes' healing process in emotionally raw, delicately crafted songs.
♠♠ Bridging the worlds of indie rock, alt-country, and folk, singer/songwriter Dawn Landes has played with a similarly diverse range of artists including Fred Eaglesmith, Amy Rigby, John Gorka, and Rainer Maria. A Louisville, Kentucky, native, Landes moved to New York to attend N.Y.U. and play music. She obtained a weekly spot at the Jack Hardy song exchange and also performed frequently in New York as well as on the campuses of Yale, Sarah Lawrence, Barnard, Columbia, Brown, and course, her own school.
♠♠ In the late 1990s, Landes trained and became a sound engineer; a trade she plies when she isn't recording her own albums. Her work has appeared on albums by Ryan Adams, Joseph Arthur, Hem, Jolie Holland, and Ruth Moody, to name a few.
♠♠ In May 2005, Landes released her full–length debut album, Dawn's Music. Two Three Four, a mini album recorded with members of Hem, followed in 2006. She released Fireproof in 2008, in the middle of her courtship with singer/songwriter songwriter Josh Ritter — they married in 2009. Landes released Sweet Heart Rodeo in 2010. She and Ritter divorced after 18 months. Her next release was the French–language Mal Habillee in 2012. After a year of working on other musicians' projects as both a musician and engineer, she recorded Bluebird, produced by Thomas Bartlett (aka Doveman), which was released in February of 2014.
♠♠ The allusion is too obvious, so no doubt this will seem trite, but Dawn Landes really does sound like a bluebird. Most amateur ornithologists know the males of the species sing the most and have the showier plumage, but the females do chortle also and have their own kind of subtle beauty. Males may flash, but it's the women that offer the more delicate and perfect charms.
♠♠ This is nature, not sexism, and saying Landes is birdlike is not condescending. Her voice may be soft but it is strong. Female bluebirds don't croon to attract mates but to warn of intruders in their territory. It would be a stretch to say that's exactly what Landes does on her latest release, but not much of one. The Brooklyn via Louisville singer songwriter offers an enchanting paean to "Home" as well as tunes that address the delights and dangers outside. Landes understands that when she walks down to the edge of the woods, she should not enter further, but that doesn't stop her (metaphorically speaking). Tangles in the weeds mean nothing when your eyes are staring upwards.
♠♠ What keeps Landes from being schmaltzy is the simplicity of acoustic instrumentation and the tensile strength of her gentle vocalizations. She has the aural equivalent of those spider webs they turn into cables to lift heavy objects without breaking. While there is something ethereal about her music, it also has substance and physicality. Consider the waltz rhythms of "Heel Toe" that convey the back and forth motions of sexual/sensual touching and moving together and as a separate partner. Like the wind that blows alluded to in the song, it can be pleasant relief or a destructive storm.


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Should we ever be asked whose services we engaged for cleaning the system and ovens we will be more than happy to pass your details on.


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text:
Q: Less robotic voice from gTTS I created a basic virtual assistant. It works, but it just sounds terrible, like a robotic voice you get from a scam call. The package I'm using for this is gTTS, which works great, but it doesn't have a nice sounding voice. Is there anything I can do to change that?
Code from my script:
tts = gTTS(text=audio_string, lang="en")
r = random.randint(1, 10000000)
audio_file = "audio-" + str(r) + ".mp3"
tts.save(audio_file)
playsound.playsound(audio_file)
print(audio_string)
os.remove(audio_file)

I've already tried en-us or en-uk but it doesn't work. The voice is still the same. Is there any way to change it?

A: You can use pyttsx3 module
import pyttsx3

#Starting microsoft speech api sapi5
engine = pyttsx3.init('sapi5')
voices = engine.getProperty('voices')#fetching different voices from the system
engine.setProperty('voice', voices[1].id)#setting voice properties
engine.setProperty('rate', 130)#sets speed of speech

#enables speech
def speak(audio):
    engine.say(audio)
    engine.runAndWait()

You can replace 1 by 0 for a male voice in the engine.setProperty('voice', voices[1].id) statement

redpajama_set_name: RedPajamaStackExchange


text:
Q: Why can't I copy and paste image in some position using OpenCV when it is declared as varIable name? I'm trying to crop a particular portion of two images and swap the position of those image in the main image using OpenCV.
Below is the code I'm using to perform above requirement
    image1 = img[198:238, 456:654]
    image2 = img[120:282, 487:534]
    resized_image = cv2.resize(image1, (90, 221))
    resized_image1 = cv2.resize(image2, (211, 90))
    img[120:282, 487:534] = resized_image
    img[198:238, 456:654] = resized_image1
    cv2.imwrite('01.png',img)

above code successfully swap the two image position but when I pass value dynamically I declare the position of image to be sliced as variable, say 'positiion' when I use this variable image won't get swaped as shown in below example
    position[0] = img[198:238, 456:654]
    position[1] = img[120:282, 487:534]
    image1 = position[0]
    image2 = position[1]
    resized_image = cv2.resize(image1, (90, 221))
    resized_image1 = cv2.resize(image2, (211, 90))
    position[1] = resized_image
    position[0] = resized_image1
    cv2.imwrite('01.png',img)

here image remains same as it before no swaping occurs. image1 = position[0] will crop the image at the given position but when I try to paste the image using  position[1] = resized_image nothing actually happens expected to swap the image. So whats happening why swapping doesn't occur.How can I fix it ?

A: Using img[198:238, 456:654] returns a new image, not a reference to the original image. So position[0] actually holds a new image with the swapped region of interest.
You can solve this by creating a list of tuples with the x/y values of each RoI and use these to resize and swap the RoI's.


This CD reissue features two classic, late Albert Ayler albums, both originally released on the French Shandar label, and recorded live in France at the Fondation Maeght in St. Paul de Vence (July 25th & 27th, 1970). He's joined by Mary Maria, Call Cobbs, Steve Tintweiss and Allen Blairman. These stellar live performances capture his two last gigs ever. Contains new exclusive liner notes by Wire contributor David Keenan. Digitally remastered.


Good point! patio It makes a good reference for sure!
That's great! But for those who buy laptops, desktops without recovery disks and end up needing a new drive or Windows gets trashed they often ask how to see Windows installed fresh! The article explains the legit ways to go about things.
New machines, note the operative words, "USED TO" provide recovery disks with both laptops and desktops coming with Windows already preinstalled. Then within the last few years less and less models would see any. Instead the manufacturer either prepackaged or posted up on their support site a utility you would use to create them from the hidden recovery partition containing the software options along with all the drivers.
For the novice or for someone simply lacking any the use of another person's installation disk but still using the same product key from the sticker will work allowing you to borrow a disk as long as the disk itself was genuine since the product key on the sticker is the actual OEM license for that one machine only.
The article here proves continually to be useful since many a novice user will ask other questions where I simply end up pointing to the article! Fortunately for most with an OEM pc they can usually acquire a recovery disk for shipping costs only when providing the manufacturer or dealer with customer information to order if not use the utlity to create a disk.
.... No such animal as an "average" PC user. Perhaps you mean a NOVICE PC user?
I don't mean to be rude, far from it, but computer usage is such a broad church. The intelligence, ability and personality of each individual ensures that.
Most people even reading the instructions on the outside of a Windows disc box, will be capable of figuring out what to do with the disc. A novice will almost certainly be installing into a new PC or laptop. The instructions upon the screen are easy enough to follow.
I was a new user, once. So was every person reading and contributing to this forum.
I don't understand Microsofts problem here. They can't be activated without a valid product key anyway.
Backup all the stuff you intend to keep.
Your original Win7 Product Key is needed. On lappies, it is on the base. For a PC 'Big Box', it should have been a sticker in your original Windows disc case. If not, it may be stuck to the inside of the PC case.Write it down.
Borrow a genuine Win7 disc, OEM or Full. (Luckily, I had a full copy from my PC.) The disc MUST be same O/S as original: Win7/64, 32, Home Premium/Utimate/Professional/whatever.
Install the disc and follow the instructions for a complete new Installation. This will remove everything and prepare it for the new installation.
At activation, when asked for the Product Key, type in the one you wrote down, from your original O/S.
Follow the instructions on screen, for a shiny, spanking new installation.
My question is; what do you do when the recovery software and hidden OS partition has been deleted. How do you recover to factory condition with out those two options. I'm working with a client right now that has a Toshiba laptop with just this problem. There has to be a way to recover to factory condition with out ordering the recovery disc's, mind you, that only comes with the OS and no drivers, which you have to download separately.


text:
GQ Hype
Bellinis, sex and self-loathing: the diary of a party crasher at the Venice Biennale
By Christopher Taylor 17 June 2019
Ever wondered what it's like trying to blag your way in to every art party at the prestigious Venice Biennale? Christopher Taylor did so you don't have to. Boy, what a hangover...
The Venice Biennale really wrung me out this year. I arrived home with shaking hands then I fainted lugging my suitcase up the stairs. It had been an epic journey back to London, testing the human condition. Well, my condition at least. An extortionate Euro taxi boat ride to a crowded EasyJet bus (rammed full of the art world's great and groan worthy) then a plane to the sink hole that is Luton airport, all the while taking deep breaths and trying not to vomit on the "aesthetic consultant" or "sound architect" sat next to me. The Venice Biennale is not for the faint of heart, if you do it right.
The 58th International Art Exhibition of La Biennale di Venezia is entitled "May You Live In Interesting Times", a saying purported to be a Chinese curse. The Venice Biennale is the world's most opulent, magical, disgusting, exhausting, inspiring shitshow of a week you might ever have the pleasure to endure. A week so intense they can only do it every two years without causing fatalities or at least serious injury.
Seven full days of the world's best and worst, hundreds of exhibitions, thousands of artists, the world's most glamorous, interesting, funny, awful and dangerous people. Oligarchs, gangsters, critics and liggers arrive on their £100 million Bond villain superyachts to mingle with megastar artists, ultra-collectors, savvy curators, sharking celebrities, total randoms and messy blagger criminals. (I fall somewhere between all these categories.) All of this set against the backdrop of the most incredible place on earth, Venice…
**Day one, Sunday: "Never appear as drunk as you think you are" ** This is my 20th year of Biennales and I'm excited for every bit of it. The art world has been all a buzz about what artists the curator Ralph Rugoff has chosen. The haters began hating early this year, however. Whatever. I come in every two years ill-informed, open-minded and excited to tackle it all.
First, I have to actually get on the damn island. We are delayed on the ground due to bad weather in Paris and also Venice. You are not supposed to have heavy weather in Venice for the Biennale, rather you should be standing up out of the back of a water taxi with a beautiful woman, or man, a warm, fishy breeze in your nose and hair. The flight was two hours delayed and the landing felt like coming in across enemy fire. I also had checked luggage, something to be avoided usually, but when you are as professionally messy as I will be for the week ahead, surrounded by the world's most "fabulous" and "important" people, you had better be sporting fresh-pressed shirts and suits every day. It's an ancient balance of sartorial feng shui. Be drunk; dress fresh. If anything, it adds a little edge and mystery.
The most expensive taxi in the world dropped me at Hotel San Samuele. A basic sort of thing, bathroom in the hallway, but a bullseye of a location. I immediately looked up the best Venetian I know, Alessandro Possati, the sort of defacto mayor of Venice. He told me to rush to Harry's Bar, natch: he was sitting down with a few artists from some projects he was presenting through his art foundation, Zuecca Projects.
In true Italian style, there was no reservation, we never looked at menus and ate like gods, adding and losing bodies all night. The immaculate waiters in their pristine white coats whisked tables around with silent grace. This is something the non-Italians will never be able to arrange and at Harry's Bar you had better be related to the Doge to pull it off. The night ended with drinks in another little bar and a particularly gorgeous member of the dinner party asking me to escort her home as she didn't know how to get back to the Bauer hotel.
Of course, being a gentleman, I obliged until we reached the Piazza St Marco where, due to the aforementioned heavy weather, the piazza was under ten inches of water. The chat had been going fine until that moment. I explained I knew a way around on higher ground. She all of a sudden became incredibly French and stroppy, told me she was exhausted, that I was a bore and no help and trudged angrily off across the square, her stilettos entirely submerged. Quite the most beautiful sight, in fact.
**Day two, Monday: "Psychedelic mushrooms and speed: the art expert's cocktail of choice" ** The real Biennale in the Giardini and Arsenale opens on Tuesday for super art players and Wednesday for everyone else. Some collateral projects begin on the Monday, as does the day drinking. But a rule-of-thumb kind of a tradition is before you start Venetian day drinking you should try to see at least one or two art shows. This isn't always possible as the week moves on, then later morning starts require earlier day drinking, but, as a "rule", seeing a reasonable amount of art, or "kunst" as the Germans like to say, gives one a sense of achievement before the long lunch.
On this Monday morning I managed to achieve just that. I started the morning early and excited with only a relatively cloudy head from Sunday night's activities. The first show, Elisabeth von Samsonow and Juergen Teller's The Parents' Bedroom Show at the Spazio Ridotto. A surprising departure from Teller's work as you may know it, he was using photography, but the show was much more about Von Samsonow's performance and kinetic sculpture which incorporated his photography of the performances. I really liked the show.
Despite the fact that I have known Jurgen Teller for 20 years, sat next to him at many dinners and drinks he never ceases to totally blank me. Like hard, full-on, unblinking blanking. Oh, well, not sure who this says more about. This was followed by the failed collection of my press pass and a mad dash for the Palazzo Grassi to meet two dear friends from London. The show was an enormous survey of the painter Luc Tuymans, an artist whose work I used to adore until I saw a little too much of it. Art can be like that: always after the shock of the new until the new loses its shock.
Next it was off to a 1pm reservation at Harry's Dolci over on the Giudecca. Me being the veteran Venetian of the group assured my friends it was just a quick hop on the vaporetto from Grassi and we would be there in no time. It was somewhere after about the 40-minute mark, as we were slowly rounding the train station into a kind of industrial water wasteland, that the humour of the group started to fade a little.
Three hungry spoiled brats stuck on an endless vaporetto ride packed full of seriously un-chic tourists with – yuck – backpacks. All conversation and good humour had fully evaporated. Though it only took the first ice-cold Italian beer and a carafe of white wine to put everyone back on track. We were joined by Silka Rittson-Thomas, a German now living in London. A florist and high-end art consultant/collector by trade, she is fantastic, wicked company. The lunch being substantial, we were all now sufficiently ready for more "kunst", the next stop being the group show Luogo E Segni at the Punta Del Dagano, the second Venetian space of the billionaire collector François Pinault.
You enter the show by parting a glorious red-beaded curtain by Félix González-Torres, a permanent piece and possibly the best of the show. The rest of the multimillion-dollar art spectacular? Meh.
Feeling a little "kunsted" out we had a little downtime before the inaugural night of the popup of West London members' club Laylow with British musician Jamie xx playing. Laylow had taken over the ancient Palazzo Benzon for the week and was hosting many of the most glamorous events of the Biennale. Before the drinking, however, we needed food and so a long fun dinner with mostly the same crew from earlier refired the furnace. Bill split, we worked our way to the Bbar to the Galleria Julia Stoschek party for a dance before losing ourselves at least 63 times down dark alleys. We arrived to an absolute shitshow mob scene at the door of Laylow.
Door issues are a common situation in Venice and must always be approached with utter confidence, hand gestures and multiple protestations shouted in a terrible Italian accent while never stopping and waving your friends through saying lots of "Grazi-E-A"s. The more the shitshow, the bolder the push through the crowd to the front must be. Hesitation or the giving of your name on the door is certain death and hours lost to bureaucracy.
The party was fun. Good free bar and a large-scale video installation provided a black room of sorts where all manner of mischief was possible. A new addition to this year's Biennale was the prevalence of psychedelic mushrooms, in chocolate and oil form. They became a sort of theme throughout the week. Mushrooms and pharmaceutical speed. All on a bed of non-stop prosecco, Champagne and campari. Warning: do not mix choppy canal water and gondolas.
Day three, Tuesday: "If the art doesn't get the blood pumping then by God the cheap speed will"
The big day. The Giardini opens for the serious players. Not that I'm considered a serious player, but then this has never stopped me before. My entrances have included climbing through holes in fences and crashing in by boat. Only once in 20 years did I actually have to make a run from the security. Today, I have woken up, shaken off the psychedelics, had a pee in the sink in my room, showered (in the hallway) and thrown on my Tuesday bests. I have no plan or obvious connection for entry so head for the front door to do a recce.
As I arrive, I see the legendary (yet grumpy) dealer Gavin Brown and his wonderful artist wife, Hope Atherton. As we all approach the door, right on cue is the security. I move just slightly ahead of them and wave my hands backwards toward them saying the magic words "It's OK, it's OK" and don't stop moving. Presto! I'm in. We're in. I hear the sounds of the two of them laughing behind me and hear words such as "outrageous" and "fucker". Will my talents ever be recognised?
We approach the Belgian Pavilion, which, in my opinion, was the best. The artists Jos De Gruyter and Harald Thys are proper licentious weirdo Belgians in the best possible way and have created a sort of messed-up folkloric museum environment, with a cast of characters of awful animatronic Europeans doing their weird European thing, but in the most nightmarish (and amazing) way possible. This is more like it. Art to get the blood pumping.
The phone rings. I connect with two friends in order to diligently work through the rest of the Giardini, but first – prosecco. Post-fizz we are ready for the International Pavilion, which seems like it is on fire. An artist whose name escapes me has put a mist machine on the outside – fine, if not a little trite. The show is good overall and has some fantastic standout works by Cyprien Gaillard and Alex Da Corte.
Moving on through the national pavilions I responded a bit to the torn-up and destroyed squat rave French Pavilion by Laure Prouvost and, in stark contrast, Cathy Wilkes' aggressively boring show in the British Pavilion. Dragging our way through the rest of the pavilions, Roman Stańczak's "Flight", in the Polish Pavilion, a private jet turned inside out with all the switches on the outside, quite aptly captures how I am feeling – or will certainly feel by the end of the week, my guts exposed for all to see.
The Giardini finished, we made quick work of three spritzes each. My friends head off to Sean Scully on San Giorgio and I prioritise meeting new pretty women and old friends for drinks and dinner. The rest of the evening is a blur of Bellinis, Bellini Spritz, extra spritz, torrential rain, a really really expensive dinner, those mushrooms again and more pharmaceutical speed. Then it's the official opening party of the Biennale sponsored by The Vinyl Factory and 180 The Strand in honour of Ralph Rugoff at Laylow.
It is an hyper-fabulous affair with lots of familiar characters, some of whom like me more than others, publisher Jefferson Hack, gallerist Jay Jopling, artist Sandro Kopf, artists Annie Morris and Idris Kahn, actor Lydia Leonard, creative director Caroline Lever, designer Lara Bohinc, artist Henry Hudson, artist Quentin Jones, hoteliers Antonio and Carla Sersale, Heist gallerist Mashael Al Rushaid and many more.
The highlights? I fall off a chair for no apparent reason and then it is off to the Bbar and Bauer hotel terrace where I am immediately turned away for looking too smashed. I am gracefully but firmly pointed towards the beautiful terrace; fine by me, as it is the final resting place of any good night in Venice no matter where else you have gone before. I laugh my head off with strangers and friends watching pigeons change shape.
**Day four, Wednesday: "Meet you next to the Ghanaian banshee she-devil screaming and pounding two toms with sticks. OK?" **
Arsenale Day. Woke up in my own bed – a good and a bad thing, I suppose. The mind and body are getting a little stiffer, a little more shrunken but still it's all manageable. I arrange to meet Lara Bohinc and her husband, Ben Cooper. They were witness to some of the previous night's revelry and are old friends so feel like safe companions. Not too judgey. The Arsenale is a beast of an exhibition and having good wingmen and women can provide moral support, the only problem being that everyone looks at art at different speeds.
I look fast and it's looking good, starting with some fairly depressing photos moving into some less-depressing stuff into a video installation by one of my favourites, Christian Marclay, called "48 War Movies". It's a little tough on my state of mind but I appreciate the work and move on. Lots of interesting artists and videos I can't quite deal with pass me by until I hit a room of Arthur Jaffa's immense chain-wrapped tires, which I adore.
My pace picks up. I hang a left into the crappy country pavilions. I am physically stopped by a little Indonesian girl who insists to talk me through the work. I panic. I don't want to be there! I finally manage to give her the swerve and make my way around the very solid and serious Ghana Pavilion. All the rage this year.
Can't handle the Philippine Pavilion as they are having a serious talk with tons of people and it scares me, although the work looks interesting. Then outside for a breath of air and a beer where someone points out that the hotly debated refugee boat by Christoph Buchel is the boat in front of the café where loads of people are having coffee sandwiches and beer in their overpriced fashion sneakers. The boat is the actual boat that hundreds of migrants died in. The merits of the piece are for a more talented commentator, but this positioning in the show seems indelicate.
The weather is terrible; Hotel Danieli calls my name. A friend I meet has tea and I have beer. Then she is off to get ready for the evening, or maybe it's an excuse to get away from me as I round my third bottle of beer to her single tea, either way it's probably for the best. I look at a stolen schedule I acquired from someone more organised and see that there is a fun-looking Hauser & Wirth show and dinner for Günther Förg. I sway my way over.
I see a reprobate Swiss art dealer friend of mine outside in the bar opposite. A few quick spritzes are inhaled then he slides me through security with many hand gestures and some actual Italian. I just keep moving. Inside, it's empty; we are the very first people there. I run into my old friend and art PR superstar Jasmin Pelham, who I am thrilled to see. She suggests tequila shots. "Punchy at this time in the afternoon," I think to myself, but, hey, it is Venice. Our lovely old friend and DJ extraordinaire Dan Lywood is playing, but as it's raining he joins us for tequila.
A few wet cigarettes and we are ushered up stairs to an extraordinarily opulent room where all the serious people have been the whole time. The Günther Förg paintings are decent but there are only three of them and the palazzo itself is better, a common issue with art in palazzi. The buffet, however, is spectacular. Stomach lined and feeling slightly less sideways, it's time for the Ghana party, a hot ticket for the week.
The party is at, guess where, Laylow. So off I trudge with – actually, I'm not sure exactly who... possibly strangers. Back to Laylow for yet another kamikaze door rush, which, considering my new-found state of inebriation, is a miraculous conception. The party has great music, the best yet, and there is a Ghanaian banshee she-devil screaming and pounding two toms with sticks summoning up all manner of spirits.
I love it, but not long afterwards everything starts to lose focus. Rain, people, fun, walking on my own, banging into walls, screaming at an ex-girlfriend up at a hotel window, more rain, then getting a whole bar to scream at the ex, bribing a some man 50 Euros for something, banging on a door with a bottle, police threatened, rain, heavier rain, no hotel keys, dark empty streets, confusion, anger, despair, blackout…
**Day five, Thursday: "I must beat the shame spiral from the night before. Where's the salami?" **
Where am I? I'm covered in something. It's not a blanket. It's heavy. I'm under a huge gold curtain in a palazzo. I am on a couch. I see now: it's my best buddy Alex Possati's apartment, he saved the day, or rather last night. I remember and look at my phone. Room keys have been located (something to do with all the screaming up at the window – the shame of it). Time for a shower. Now, off to Palazzo Zaguri for Carolina Mazzolari's exhibition. I feel remarkably fresh.
It's the launch of her new book, Emotional Fields, which features her tapestry art pieces, some of which are also on display in the palazzo alongside other tapestry works by Kandinsky, Botero, Mirò, Casorati, Andy Warhol, Renzo Piano, Dali, de Chirico, Cagli, Basaldella. They have a huge spread of cheese and salami. The wine is delicious. The shame from the night before fades. The show is great. And full of some of my favourite Italians, including the writer Ortensia Visconti and her honorary Italian (French) artist husband, Cyril de Commarque.
Time for lunch. There's a great new addition to our group, the author and almost fellow Philadelphian Kevin Morris adds a tough American angle to the table. Much needed in a sea of posh Euros. The post-lunch drunken art game continues and includes crashing into the Academia through the fire exit past huge queues to see the Kandinsky. I try and reign it in this evening, my ego still a little bruised from the night before.
Day six, Friday: "Else can one do when one finds oneself duetting on a gold and white piano?"
Woke up in my own bed. There are no pictures on my camera from the night before. I think battery failure rather than lack of going out is likely. There are lots of messages on the phone. "Are you OK?" and so on. Probably best not to try to remember.
I somehow manage to fit in the very beautiful Yun Hyong-keun show at the Palazzo Fortuny and the very strong Jannis Kounellis at the Fondazione Prada before a wonderful lunch at Al Colombo. The crowd is lovely. I feel safe. The hilarious content king Raven Smith and his husband, Dickie Danks, have joined. Raven makes me laugh; a hangover-friendly face. Lunch is followed by a strange session of Venetian slipper shopping with the ever-colourful DJ Henri. I buy Raven a pair of slippers; I hope they fit.
The definitive highlight of that day for me, and it was a strong art day, was the Kolkata-based artist Mithu Sen's absolutely bonkers performance in her own made-up language. It was incredibly disturbing and riveting and stood out in a sea of mediocrity. What follows next is much of the same: a session with Kevin Morris at a tiki bar with some beautiful girls, followed by a dive bar where I seem to have joined a hen party. I popped into a fancy-looking party at the Bauer and Bbar, vibe helped via a full orchestra in situ. I found myself duetting on the white and gold piano in the lobby. Bumped into a sometimes collaborator of mine, Shwetal Patel, and received some very disapproving looks from Olimpia Bortolotto Possati of family Bauer fame. Then there are Gavin Brown and Arthur Jaffa celebrating their win of the big art prize, both showing rare exuberance.
Day seven, Saturday: "Dancing, so much dancing. Then screaming. Then blackness"
It's my birthday. It's not. It's tomorrow, but I'm not going to let the opportunity to dine out on it pass me by. I drop in quickly at an installation to do with Carpenters workshop gallery at Ca' D'Oro followed by an exquisite show at a popup of the legendary Colnaghi gallery. I also manage to take in a standout light installation by Warren Neidich at the Zuecca Project space Giudecca. Next, what happens? Well, there are boats, a bunch of good-looking people I don't know, dinner at my very favourite restaurant in Venice, Do Forni, in that back-tent bit. Then came the dancing, so much dancing, at the smallest club in the world, the Piccolo Mondo. And then the screaming – joyfully, rather than, you know, anything more sinister.
Have you ever been? To Venice, I mean? You should go. It's a hell of a thing.
Now read:
Jodie Comer: 'There will be a lot more kills'
Rolling Thunder review: Martin Scorsese's 'Bob Dylan Story' is a genius blend of fact and fiction
GQ HypeCulture


text:
Q: Boost asio multithreading
Possible Duplicate:
Boost.Asio thread safety

Is
boost::asio::ip::tcp::socket

thread safe?
I mean, can I call the methods of a shared tcp::socket (socket.connect(), read_some(), close()) from different threads without worrying about race condition issues?

A: As of Boost 1.52, it is not thread safe.
This is documented in the "Thread Safety" section in the documentation:
Thread Safety
Distinct objects: Safe.
Shared objects: Unsafe.


text:
Charlie's Room: The Snail
Charlie and Marianne were at the grocery store. They both really liked grocery stores. Marianne said it came from her side of the family, and she was probably right. Whenever her brother visited, the third thing he did was suggest a trip to the grocery store. Marianne said that her mom and aunt were the same way.
Unfortunately, her brother couldn't visit often. It was even more rare for Isaac and Marianne and Charlie to have the time and money to visit him. So, Marianne would occasionally whisk Charlie away for a shopping trip when she was feeling particularly homesick.
They'd be gone for hours and come home with packets of soup mix, talking about the price of lemons and where to find kumquats, or some such. Isaac was invited along, of course, if he really wanted to come.
He'd gone a few times and tried to participate in the price comparisons and label reading and melon thumping. But, he didn't really know what he was doing. He just didn't have the love-to-go-grocery-shopping gene, and he felt like he was holding them back. He just didn't really get it.
And that was okay. There were other things he could do with them that he did enjoy. Right now, they needed a grocery shopping day, and that gave Isaac the chance to rearrange the bookshelves just the way he liked them best. He was the only one who seemed to care whether books were arranged by subject and author, unless they couldn't find what they were looking for.
He took the dinosaur book that was hidden among the cookbooks in the office and returned it to Charlie's room. The room was unusually cold. Charlie had left the window open again. Isaac set the book on the edge of the bookshelf and started to close the window.
He stopped suddenly when he saw the snail in the window tracks. It looked like the screen wasn't completely in place, and the snail had somehow snuck in through the gap.
It certainly was an unusual snail. He leaned a little closer. It had thin, blue and green stripes painted along the sides. The wind blew through the screen, and it sounded like whispering voices. It rustled the curtains, and the snail darted forward and seemed to blur as it raced across the windowsill and down the wall.
Was it a racing snail? Isaac briefly tried to imagine who had painted the stripes on the snail and taught it to race like that. But, he really had no idea. It could be aliens or time travelers or even fairies maybe. Were fairies real? Probably.
In any case, whoever it was probably wanted their snail back. Isaac looked out the window. He could still hear the odd whispering, but couldn't see anything out of place in the yard. The gap in the screen was pretty small. It would be difficult to send the snail out that way.
He closed the window, so that nothing else would get in. He'd fix the screen later. For now, he needed to take the snail outside. He went to the kitchen for a water glass. When he returned, the snail was still on the wall. He slowly approached it and lowered the water glass.
At the last second, it zoomed across the wall and he clapped the cup against the wall, catching nothing. He tried again, lowering the cup as quickly as possible. With a blur of speed, the snail escaped again, this time disappearing behind the desk.
He probably couldn't be any quicker so he needed to be smarter. Isaac went back to the kitchen and looked through the fridge. There was a head of lettuce in the crisper. He broke off a leaf and set it on the floor by the desk and stepped back.
The snail zoomed out and started eating. Isaac clutched his cup and stepped forward, slowly and quietly. The snail zoomed away and hid under the desk again. Isaac took two steps away and it came back.
Isaac picked up the leaf and the snail raced away. He ripped the leaf into smaller pieces and started putting them down one at a time. Little piece of lettuce, step step, little piece of lettuce, step step. He made a path of lettuce from Charlie's room, down the hall, through the kitchen, to the back door.
He opened the back door. He could hear the whispering voices in the wind again. He propped the door open with a chair and left the rest of the lettuce pieces in a pile on the patio. He stepped out of the way and waited.
A few minutes later, the snail entered the kitchen, eating and racing to the next piece of lettuce. It ate its way through the kitchen and paused on the doorsill. The whispering voices grew a little louder as the wind gusted through the yard, making the branches of the trees dance and the door sway back and forth.
The snail darted forward into the grass, bypassing the pile of lettuce pieces. It disappeared into the grass. The wind stopped. Isaac closed the door and put the chair back into place. He put away the head of lettuce that was still tucked under his arm and retrieved the water glass.
Now he could return to his task. Which bookshelf was next? Perhaps he could organize the books in the living room. He probably had time to finish organizing most of the shelves before Marianne and Charlie got home.
One Fish, Two Fish, Lots of Fish
Bedtime Takes Too Long
2 thoughts on "Charlie's Room: The Snail"
That's a mystery! Do we get to find out who was in the wind and where the snail came from?
summerbird says:
Maybe? 🙂
Unseasonal Fur Coat 5 years ago
It's too hot to wear fur. How do I turn into a catfish?


William Hespeler - Born in 1830 in Gernsbach, Baden West Germany, and educated in Baden-Baden, Hespeler came to Canada in 1850. From 1850 to 1872 he lived in Ontario, when he was employed by the Canadian government to travel to Russia and convince the Russian Mennonites to come to Canada. From 1873 to 1882 he served as the Commis sionerof Immigration in Winnipeg. In 1899 he ran as a Conservative candidate in the Provincial riding of Rosenfeldt defeating longtime MLA Enoch Winkler. He held this seat until 1903 when the ridings of Rosen feldt and Rhineland merged. In 1903 he became the German Consul for Man itoba, Saskatchewan and Alberta, resign ing from the post in 1908.
Of the approximately 7,000 Mennonites that came to Manitoba in the 1870's most were of the more conservative Mennonites from the Chortitza Colony and its daughter colonies, Bergthal and Fuerstenland, and the splinter group the Kleine Gemeinde. They were particularly impressed with Canada because here they had been offered complete military exemption and block settlement, neither of which were guaran teed by the United States. In addition more than half of these settlers were landless and thus the prospect of a free homestead was particularly appealing."


Well its begun! We opened up the door to Crossfit here in the Central Coast and now many others are wanting to get into the game. You will hear about other crossfit gyms, gyms that do "crossfit-like" or "crossfit-style" workouts. This is all good because this type of training is definitely better tan the normal big box style of working out. So whats the difference between all the gyms then? Well anyone can throw some moves together and do it for a couple rounds. The big difference is in the training that you receive. We are the only gym in the entire county that has the highest level of trainer that Crossfit has to offer, a Level 2 Trainer. This is equivalent to the Crossfit Head Quarters trainers. There are currently approximately 300 level 2 trainers world wide and we have one here in our gym. The great thing is that ALL of our Level 1 Trainers are held to the same high standard as our Level 2 Trainer. They all may be different in personality and style in which they train but all hold the same ideas when it comes to training: 1) Safety for all the members, 2) Stressing perfect form and correcting relentlessly, 3) Making sure that all of our members and visitors get the most out of their workout, 4) Constantly assessing our members and their goals making sure they are moving forward with their fitness and 5) Ensuring an amazing INFERNO experience when they come to our gym. We are here for you and because of you. When you come here.....you get the best there is!! Keep up the great work everyone!!
Foundations Class this Saturday starting at 8am at the gym. Come in your gym clothes and get ready to improve your movements!!!! Email crossfitinferno@gmail.com if you are coming!
3) How many Push-ups can you get without stopping?
*Once you start you have to keep the same pace and not break cadence or stop for any reason. If you do you, your are done. Full Range of Motion!
**You one-handers, Row Sub: do single arm Sumo Deadlift High Pull with your good arm with 25#DB for 100 reps. 5 Round sub: 1 arm deadlift w 70# KB, Single legs step ups on box @32", rt leg then lt leg equals 1 rep. Push-up sub: How many sit-ups in a minute without stopping.


SPE-Kartusche, Bond Elut PLEXA PCX, 200 mg, 6 ml, 30 Stk.
Bond Elut Plexa PCX is a further milestone in the development of simple and robust SP methods. Plexa PCX uses a polymeric cation exchange resin that combines the outstanding properties of Bond Elut Plexa - superior flow characteristics and improved analytical performance - with strong cation exchange functionalities. This mixed-mode SPE sorbent removed neutral and acidic interferences from the matrix, concentrates basic analytes and therefore improves sensitivity in the determination of basic compounds.


text:
Motivation Kathrine Switzer on Boston, Ed Whitlock, Lanni Marchant, empowerment and the State...
Kathrine Switzer on Boston, Ed Whitlock, Lanni Marchant, empowerment and the State of Women in Running
Kathrine Switzer changed the world. In 1967, she became the first woman to successfully complete the Boston Marathon, a run that was nearly interrupted when race official Jock Semple tried to wrestle her off the course. Switzer wouldn't be thwarted by Semple and, though Boston didn't officially allow women to participate in their race until 1972, Switzer herself was just getting started. After completing her marathon, she dedicated her life to equal rights in athletics and the 1974-winner of the New York Marathon would go on to become the founder of the Avon International Running Circuit, which reached 1-million women in 27 countries. Her work was instrumental in getting women to compete in the Olympic marathon, beginning with the 1984 Olympic Games. Last month, she revisited Boston and once again made history at the world's most famous race. This weekend, Switzer will be appearing at the Goodlife Fitness Toronto Marathon, including in an interview with iRun GM Ben Kaplan at 3 p.m. on Saturday, May 6. We caught up with Switzer as she made her way to Toronto.
iRun: Congratulations on completing another Boston marathon.
Switzer: It was a fairytale ending, believe me. It's been a long journey. And at 70, anything can go wrong with your training, but there have been so many people cheering for me. It's amazing, so thank you.
iRun: Did you always know you'd run Boston again?
Switzer: Never. My last Boston was 1976 and I figured that was it. After that I created the Avon Global Women's Running Circuit. I had won New York and run a 2:51 at Boston and thought: I'm never going to get better than that. Naturally I was tempted to put a 2:41 after my name, but the 2:51 took so much work and paved the way for my next opportunity.
iRun: Tell us about that, the Avon International Running Circuit.
Switzer: I thought it would lead to getting the marathon in the Olympic Games and it did. Avon said, 'We love this and we love you and hired me,' and it was a dream fulfilled, but I knew if I did this, it would require every creative and physical ability I have and I hung up the shoes, became a doctor and called 1976 my last marathon.
iRun: Marathon running is like being the Godfather. You keep trying to get out, but it keeps pulling us back in.
Switzer: I put it behind me quite happily but, in my 60s, I was doing a signing for my second book, and women that were 65, 70, 75, kept saying, 'You're my inspiration! I didn't start running until I was 65!' I started eating my heart out. They were doing things I had helped create, but I wasn't taking part in. I wondered if I could get it back. I wondered if I could run another marathon.
iRun: And you did. And it was Boston.
Switzer: I trained up and it took me two years. What I feel is: If you're fit and you're healthy and have an opportunity, what a privilege it is to try. My sense was incredible gratitude. How many 70-year-olds get to the starting line?
iRun: Gratitude seems to be the best emotional to fuel not only running, but fuel a happy and healthy life.
Switzer: Wally Bortz in particular was pioneering in his belief that our most important organ isn't the heart or the brain, but our legs—we should keep moving into old age and live an active old-age lifestyle. It assures you quality of life. He wrote a book called We Live Too Short and Die Too Long and I'm a real believer in that. Go full bore and go off the edge of the cliff, that's what Ed Whitlock did.
iRun: What do you mean?
Switzer: It was amazing when Ed Whitlock died, how it happened, and he was a great friend of both Roger's and mine. He ran the marathon with prostate cancer and then he just said, it's time.
iRun: What was it about Boston, in 1967, that you wanted to tame?
Switzer: Here's the point of it: in those 50 years we went from Jock trying to throw me out of the race to Boston now almost 50/50 in terms of women and men, and in Canada, it's more women running than men—it's practically a women's sport!
iRun: It's sad to remember that women couldn't run in the Olympics until 1984.
Switzer: The important thing is that social revolution of women's running is that it's a transformational experience. Running transforms women, women and men but we're talking about women, and gives us a sense of empowerment that effects all our lives. They're no longer trying to lose five pounds or become Olympic athletes—they're there because it makes them feel good, makes them feel empowered. That's why I wanted to go back to Boston, to thank the people in the streets for helping make the worst thing in my life become the best thing. Women are telling me, 'Thanks to running, I have the courage to leave my abusive relationship' and I want to pass the torch. I ain't going to be around forever, these new guys have to do it, that's what my foundation 261 Fearless is about—be fearless in the face of adversity.
iRun: Tell us about 261 Fearless.
Switzer: We formed a non-profit where we take this spirit of empowerment to women around the world with no opportunities. They can game this by putting one foot in front of the other. Capability is everywhere it just needs an opportunity. 261 was my bib number in 1967 Boston, and it's been retired, by the way.
iRun: Canadian runners like Lanni Marchant and Rachel Hannah have been vocal about touting your influence.
Switzer: Such feisty women, I love it! I couldn't believe Lanni Marchant took her top off! I said, 'Oh boy, that's fantastic!' I love what she said—really, really strong. Nobody wants to see me do that now, but I would, believe me. This new generation, incredible.
iRun: We'll pass that along. Now can you please tell us about your run in 67?
Switzer: I've done this a thousand times, but OK, here goes: I was reading JD Salinger at the time, so I signed my form KV Switzer, I didn't think anything of it. There was nothing about gender written on the entry form and I wasn't there to prove anything. (Later, race officials said I should have known it was a men's only race, but that's bullshit.) At first, my coach didn't think a woman could run a marathon, but I did it in practice and he was totally blown away and he said, 'I'm proud of you, you're going to be really noticed now,' and so the day of the race I wore very dishy shorts and top, I was eager to show off that I was a girl.
iRun: What was the prevailing attitude in 1967?
Switzer: If you were a female athlete, you had to look like a guy. But it was snowy on race day and I threw on everything I could find and you couldn't see I was a woman. The guys racing all knew and were welcoming, but the officials didn't know. It was colder than hell but after a mile, the press truck came by and Jock Semple was getting teased by the journalists—there's a girl in your race!—and he jumped off the bus and attacked me. He smacked my coach and was clawing at my shirt, but my boyfriend gave him a shoulder charge and he went flying through the air. My coach said, 'Run like hell!' So down the street I went.
iRun: Where did you find the strength to keep on?
Switzer: I made the decision there and then: I'll finish on my hands and knees if I have to. Anything could've happened. I could've bonked. I could've got diarrhea, but I made the decision and after I ran Heartbreak I realized I murdered Jock Semple every way a person could be murdered and after 20 miles, you can't stay angry, you focus on the big issues, and there I realized other women would be here if they only had the opportunities. Don't you get your best ideas on the run? I finished that race and had a life plan.
iRun: Helluva story, my friend. Helluva life.
Switzer: Jock Semple gave me a vehicle to change million of women's lives in a powerful way and gave the women's rights movement one of the greatest photos in history, I have gratitude for everything that's happened to me. Everything that I've done.
ed whitlock
kathrine switzer
lanni marchant
Previous articleA Race With No Finish Line: There's an App for That
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Lanni Marchant Looks Ahead to 2020
70 year old First-Time Marathoner on qualifying for Boston
How Bianca Andreescu Can Make You a Better Runner
Annie Desbiens May 4, 2017 at 8:04 pm
Respect, Mme Switzer !
Jane Knoll May 9, 2017 at 11:11 pm
I had the privilege of meeting both Kathrine and Lanni in Toronto when I was picking up my race kit for my very first 10K! I was so inspired by these women and I had a lovely chat with Kathrine. She said she was inspired by me running my first 10k at 63. Can you believe it? Meeting her was a moment I will never forget.


A beautiful example of Jack Laurent Giles genious and of the quality craftmanship of Sangermani.
Alcor II was built for Spanish sailor Luis de Olano, in 1959, on a design from Jack Laurent Giles, by then already succesful in imposing his theories on light displacement for racing boats. Alcor II is not at all a light displacement vessel, but has innovative features for her time as the separated rudder and her very long over-hangs that give her additional buoyancy in hard weather and while sailing down-wind and reduces wet surface when ghosting along in light winds. Thus she spots a very "mediterranean" design, although she is very able for atlantic crossings and world-wide sailing. A model of this vessel is on show at the Real Club Náutico in Barcelona, her original home port. Alcor II is in outstanding shape and she has still her original powerful engine, a Rolls Royce of more than 300 hp.


The MiARD project has formally finished its work (as of the end of August 2018), although project members are still working on several publications resulting from the project. The formal review of the project's work by the European Commission will take place on October 16th, 2018. Datasets and publications from the project be seen here.


The Tarot Baby Mod kit by Vaporesso is a brilliant combination of the Tarot Baby Mod and the enticing NRG SE Tank. The Tarot Baby Mod is an 85W device that includes the OMNI Board 4.0 safest chip with the highest performance. The 85W Tarot Baby is powered by a 2500mAh built-in battery and operates on several modes. This mod has a 0.96' TFT screen with a very sleek-hidden firing button.
On top of this impressive mod, sits the NRG SE tank. The NRG SE tank is a convenient top filling, bottom airflow 4.5ml tank. Uses all Vaporesso GT Cores but also compatible with SMOK Baby Coils. With this kit comes amazing flavor and vape production whether it be you favorite vape juice or vaping thick oils.
*GT CCELL are ceramic based coils for vape juice including thicker oils and concentrates as an oil vaporizer when combined with compatible sub-ohm vape mod or battery.


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Q: Best way to keep the elements of a structure up to date Sorry if the title is not clear. I had no better idea.
I want to store in Python a "list" of entries. An entry consists of a date and a location. All I want to do is to maintain the list up to date by removing regularly all entries older than 24 hours.
What is the best way to store the entries (dictionary of dictionaries, list of dictionaries...), and how can I remove the old items?

A: I'd use a list of tuples. Alternatively, you could define a class to represent the entries. I often use the collections module's namedtuple for this sort of thing.
import datetime
import collections

Entry = collections.namedtuple('Entry', ['date', 'location'])

entries = []

entries.append(Entry(datetime.datetime.now(), "Siberia"))
entries.append(Entry(datetime.datetime.now(), "Wisconsin"))

For the purge you might take advantage of a generator expression qualified by a timedelta threshold. Here I use slice assignment to modify the list in place in order to keep the original entries reference intact.
threshold = datetime.timedelta(days=1)
now = datetime.datetime.now()
entries[:] = (e for e in entries if now - e.date < threshold)

A: You could use a list of lists or a list of objects (classes).
You would do that like this:
class Entry:
    def __init__(self, date, location):
        self.date = date
        self.location = location

mylist = []
mylist.append(Entry(some_date, some_location))

where some_date and some_location are actual date and location.

A: No need for classes when you just have to store two values:
data = []
#add elements:
data.append(("New York", "2013-10-31"))
data.append(("Washington", "2014-10-31"))
#cleanup (insert fancier date handling method here):
data = [element for element in data if element[0][:4] == "2014"]

A: I would try it like this:
from datetime import datetime
from datetime import timedelta
class Entry:
    def __init__(self, date, location):
    self.date = date
    self.location = location

    def age(self):
        return datetime.now() - self.date

For the deletion part, here is an example:
mylist = []
mylist.append(Entry(datetime.now(), 'here'))
mylist.append(Entry(datetime.now()-timedelta(hours=24), 'here'))
mylist.append(Entry(datetime.now()-timedelta(hours=26), 'here'))
#Show all entries
for i in mylist:
    print(i.age())
#delete entries older than 24 hours
mylist = [x for x in mylist if x.age() < timedelta(hours=24)]
#Show again :)
for i in mylist:
    print(i.age())

A: This way seems simpler and faster than the other proposals. You have to compare both the date and the time. Let's assume you have a list of tuples each having two entries: date, and location. Since you will be adding the new tuples to the end of the list using "append", you can stop deleting when you get to the place where the date is no longer 24 hours old. Purging the list each time you add a new tuple will keep the list small and the effort (time) will also be small. If you start your project with a list that is not in time order you can do a one-time sort to make it so.
from datetime import timedelta
from datetime import datetime

n = datetime.now() - timedelta(days = 1)

for i in range(len(myList)):
    if myList[i][0] < n:
        del myList[i]
    else:
        break


text:
Q: Pinch and Tap Gestures don't work properly I have an ImageView into a ViewController and i want to zoom in or zoom out with Pinch Gesture. Also , i want to get the initial view when the user double taps the image.I followed this tutorial Make Gallery
If i use only pinch gesture all work properly, i can zoom in until max zoom achieved and i can zoom out until min zoom achieved.The right is result is in the picture below.
Although, if i double tap the ImageView the ImageView gets its initial format (Image 1) but the achievement of min zoom isn't recognized and if i continue with pinch gesture to zoom out the ImageView continues to zoom out and i get this result (Image 2):
These are my methods that handle the events:
@interface ImageGalleryViewController (){

NSString *productName;
CGFloat previousScale;
CGFloat previousRotation;
CGFloat beginX;
CGFloat beginY;

CGFloat scale;
//CGFloat __previousScale;
}

- (void)viewDidLoad{
[super viewDidLoad];
// Do any additional setup after loading the view.

   scale=1.0;

   UIPinchGestureRecognizer *pinchGesture = [[UIPinchGestureRecognizer alloc]       initWithTarget:self action:@selector(scaleImage:)];
   [self.view addGestureRecognizer:pinchGesture];

   UITapGestureRecognizer *tapGesture = [[UITapGestureRecognizer alloc] initWithTarget:self action:@selector(resetImage:)];
   tapGesture.numberOfTapsRequired=2;
   [self.view addGestureRecognizer:tapGesture];

}

 - (void)resetImage:(UITapGestureRecognizer *)recognizer{
     [UIView animateWithDuration:0.3 animations:^() {

     self.view.transform = CGAffineTransformIdentity;

     }];
     self.bigImage.transform = CGAffineTransformIdentity;
     [self.bigImage setCenter: CGPointMake(self.view.frame.size.width/2,self.view.frame.size.height/2+32)];
     [UIView commitAnimations];
 }

- (void)scaleImage:(UIPinchGestureRecognizer *)recognizer{

     NSLog(@"Scale: %f", [recognizer scale]);
     if ([recognizer state] == UIGestureRecognizerStateBegan) {
        previousScale = scale;
     }

     CGFloat currentScale = MAX(MIN([recognizer scale] * scale, 10), 1);
     CGFloat scaleStep = currentScale / previousScale;
     [self.view setTransform: CGAffineTransformScale(self.view.transform, scaleStep, scaleStep)];

    previousScale = currentScale;

    if ([recognizer state] == UIGestureRecognizerStateEnded ||
        [recognizer state] == UIGestureRecognizerStateCancelled ||
        [recognizer state] == UIGestureRecognizerStateFailed) {
    // Gesture can fail (or cancelled?) when the notification and the object is dragged simultaneously
        scale = currentScale;
        NSLog(@"Final scale: %f", scale);
    }
}

So how can i stop zoom out if the initial right view (first image) has achieved?

A: I had to reset variable scale to 1.0 into resetImage method. So now it works properly.