This post is part of the "All you need to know to become a great Drupal developer" blog series.
Git is a version control system, like "track changes" for code. It's fast, powerful, and easy-to-use version control system. But the thing that's really special about Git is the way it empowers people to collaborate.
All the projects on drupal.org are stored in Git, and there are millions of public projects hosted by GitHub.com. Whether you are a developer who wants to contribute to an open source project, a freelancer who needs to know how to maintain a patched module, or a member of a team collaborating on a single code base, Git is a tool worth having in your toolbox.
This blog post walks through some basic Git workflows for collaborative development. If you've heard people talk about "decentralized" or "distributed" version control, but you haven't seen it in action, or you're not sure what's so cool about it, this post is for you. To follow along, you just need to have Git installed on your computer. Some basic experience with version control (Git or other) is helpful, but not required.
Here's our scenario: Alice starts a project called "rhymes", it's a simple Git repo with a bunch of Alice's favorite nursery rhymes stored in it. Bob uses the project and wants to contribute to it. Specifically, he wants to contribute a few new rhymes, and help improve formatting to make the documents easier to read. Alice will review Bob's changes, accept some of them, then make her own changes to the project. Then Bob needs to sync up his copy of the project with Alice's.
Alice's rhymes project is hosted on GitHub, which conveniently provides beautiful graphical interfaces for exploring and interacting with Git repositories. This makes it easy for Bob and other people to use and contribute to.
The steps below walk through both Alice's and Bob's workflows step-by-step. Follow along on your own computer as Alice or Bob. If you have a partner to do this with, one of you can be Alice and one of you can be Bob, or if you have two GitHub accounts, you can play both roles.
Step 1: Alice creates a new project and hosts it on GitHub.
# Create a folder for your project.
# Add some explanation about the project to the README file.
# Review uncommitted changes. Then commit them.
# Alice downloads favorite rhymes.
# The files have been downloaded, but not committed.
# Alice adds the files one-by-one to make her git history look nice and tidy.
# Alice gets lazy and decides to just add everything else at once.
# Alice reviews and admires her commit history.
Bob discovers Alice's repo on GitHub here. He can copy, or "clone", her project here (screenshot). But if Bob wants to propose changes to Alice through GitHub, he needs to "fork" Alice's project first (because he does not have permission to make changes directly in Alice's repo). Bob forks Alice's project by clicking the fork button here.
Now Bob has his own copy of Alice's project here: here.
Bob adds Hickory Dickory Dock to his copy of rhymes.
# First Bob clones his fork of Alice's rhymes project.
# To keep things simple and tidy, Bob will keep the master branch in sync with Alice's version of the master branch.
# Bob creates a new branch, where he will store his changes.
# Add Hickory Dickory Dock to the repo.
# Bob pushes the changes from his local copy of rhymes up to GitHub.
To submit his changes to Alice, Bob creates a pull request (screenshot 1, screenshot 2).
Alice can review Bob's pull request under the Pull Requests tab on her GitHub project (screenshot).
There are two ways for Alice to merge in Bob's changes. The easiest option is to use GitHub's GUI. When changes merge cleanly, like these ones, GitHub offers a bright green button that says, "Merge pull request" (screenshot). After merging, if Alice wants to have see the changes locally on her laptop, whe needs to pull changes from the GitHub copy of her repo down to the local copy on her laptop.
First, Alice tidies up her repo to make it easy to work with multiple remotes. By default GitHub always instructs users to name their own remote on GitHub "origin". But this can get confusing and dangerous quickly. If Alice and Bob both give each other permission to make changes in one another's repos without making pull requests, and Alice has one copy rhymes where "origin" points to her own repo, and another where "origin" points to Bob's, Alice will inevitably push something to Bob's repo one day which she intended to push to her own. Alice could remove her changes to Bob's repo with a "force push". But it's really bad GitHub etiquette to change the history of a published project. And it's also impolite to force push things in other people's repos. To prevent confusion, embarrassment, and headaches, Alice always renames "origin" something else. She names all her remotes after the GitHub user who owns the remote repo, including her own. This way, no matter where she cloned the project from, the remote names are consistent among all her copies of any projet.
# Alice renames origin -> alice.
# Add a remote pointing to Bob's copy of the project.
# Confirm each remote points to the correct repository.
Next Alice pulls down a copy of Bob's work. She checks out a local copy of his changes to inspect them. Then she merges and pushes her changes up to GitHub.
# Fetch a copy of Bob's work.
# Review all the branches (both local and remote).
# Check out a local copy of Bob's work and review it.
# Checkout master and merge Bobs changes in.
# Remove our local copy of the hickory-dickory branch. We don't need it anymore.
NOTE: After Alice pushes master up to GitHub with Bob's changes merged in, GitHub will automatically close Bob's pull request (screenshot).
# Add a remote pointing to Alice's copy of the project.
# and Alice's master branch. There should be no difference.
Bob creates a new branch where he will add more stuff.
This repo is a collection of Alice's favorite nursery rhymes. Pull reqests accepted.
This repo is a collection of Alice's favorite nursery rhymes. Pull requests accepted.
# Review changes word-by-word. Commit.
This repo is a collection of nursery rhymes. Pull requests accepted.
This repo is a collection of nursery rhymes and children's songs. Pull requests accepted.
Bob adds a few more rhymes.
This is a collection of nursery rhymes and children's songs. Contributions are welcome. Please submit changes as GitHub pull requests.
Bob reviews his log. He feels silly about having changed the README so many times.
Bob doesn't want to waste Alice's time having her review changes that he himself has already decided to throw away. So, before publishing his project history on GitHub, he does some cleanup.
b7e5732 Fixed typo in README.txt.
# Rewrite history going back as far as commit 4b15370.
pick b7e5732 Fixed typo in README.txt.
squash b7e5732 Fixed typo in README.txt.
Now when Bob reviews his commit history, it's nice and tidy.
Now Bob pushes his changes up to GitHub and sends another pull request to Alice.
This blog post covered the basics of collaboration with Git: Forking projects, sending pull requests, managing multiple remotes, and keeping a log worthy of reading. If you found this useful, spend some time clicking around the GitHub network graph (here), and playing with committing, rebasing, and merging. There's a lot of great stuff here.


The image "The Seeds of Genocide" was created at my request by an artist Avital Legar with the idea of the legal prohibition of genocide in mind and with reference to the Genocide Convention. I am promoting use of this symbol to commemorate the seventieth anniversary of the Convention on the Prevention and Punishment of Genocide, which was signed on 11 December 1948. The image aims to reflect the nature of genocidal ideology by representing its main elements in a way that speaks both to intellect and emotions. It is designed to be distributed via social media or displayed in specialized blogs, such as this one. The intention is not to shock but rather to create an artistic piece that would be highly symbolical in nature.
The image depicts life as a garden where all humans are beautiful flowers. Each flower is unique and generic at the same time; its roots are tightly intertwined with those of other flowers. This connection happens underground and is thus hidden from plain view. The tension occurs when one flower starts seeing another flower as a 'weed' rather than as a different flower. The virus of genocide is exactly the idea of 'othering' flowers as weeds to be eliminated. It has capacity to destroy all flowers for it defies the universal connectedness of all flowers-human beings. The power of symbolism makes it possible to stress the gradual process of alienating and dehumanizing others. It appeals to senses as well as to the analytical mind.
Social media platforms: tools for division or unity?
The project is a pilot study of the possibilities offered by art in raising awareness through creative representation, using social media platforms as dissemination tools.
The impetus for the collective action that paved the way to the Genocide Convention in 1948 was the desire to prevent reoccurrence of "acts committed with intent to destroy, in whole or in part, a national, ethnical, racial or religious group, as such." In the years to come, the crime of genocide solidified its reputation by surfacing in the work of the ad hoc tribunals and the International Criminal Court (ICC). Yet 2018 witnessed a highly publicized report by the OHCHR Fact Finding Mission on Myanmar, which found that there is sufficient information to warrant the investigation and prosecution of senior officials for genocide against the Rohingya Muslims and other ethnic minorities (para. 87).
Sadly, neither the existence of a clear legal prohibition contained in the Genocide Convention and reproduced in its original form in the ICTY Statute and the Rome Statute of the ICC, nor the consequences of moral and political stigmatization, deter the acts falling under the definition of genocide from reoccurring. Moreover, new technologies exacerbate the problem by facilitating easier access to larger segments of the population. They offer additional possibilities for disseminating divisive ideologies. The OHCHR report specifically noted that Facebook has been a useful instrument for those seeking to spread hate (para. 74, Emma Irving's discussion here). In this regard, it is important to mention here as a 'footnote' that the records of genocidal statements held by social media platforms can serve as evidence in open source intelligence gathering, making it easier to prove the specific intent in cases when criminal prosecution is a viable option.
The question raised by the image "The Seeds of Genocide" relates less to accountability efforts and more to the goals of prevention and reconciliation in international criminal justice. Interestingly, the OHCHR report mentions that the process of "othering" the Rohingya had started before the worst atrocities unfolded (para. 20). Can social media serve as a platform for educational art that fosters a sense of unity rather than division? I would say 'yes' and argue that new technologies offer such possibilities when it comes to both preventing and addressing mass atrocities. They do so by allowing for the distribution of the results of creative endeavors aimed at raising awareness online through social media outlets.
This proposal stirs a host of questions, legal and ethical. I will only touch upon one bigger question that speaks rather to the foundation of the whole discussion than to the choice of any particular legal prohibition or creative vehicle for its expression. My aim here is merely to start the conversation using "The Seeds of Genocide" as a pilot image. Why would one employ art to complement individual criminal responsibility and prosecutions?
Broadly speaking, art and law target different areas of human psyche and are not mutually exclusive. Law has regulatory function and rests on well-defined black-and-white categories. In contrast, art is there to connect us to ourselves. It dwells on ambiguity for its purpose (if art is discussed as a purposeful activity at all) is to reflect the complexity of human condition in fullness. The symbiosis of art and law thus does not shun away from nuance but accommodates structure. Law encompasses the system of norms, which supports the values agreed upon internationally. Art, in turn, adds experiential dimension to the picture by connecting individuals to the present moment. Arguably, the strength of art is in its capacity to establish an individual connection to the theme of work. The same aspect can also be interpreted as a weakness for it leaves room for multiple interpretations where the legal provisions are clear.
I am currently a PhD researcher in international criminal law at the European University Institute. My research focuses on modes of participation in international criminal law and, in particular, on the concept of complicity. I hold a Master's Degree in Criminal Justice from the University of Oxford and an LL.M in Public International Law from Amsterdam University. I have worked as a legal assistant for the defence at the ICTY and as arbitration associate in an international law firm.


text:
Q: How to make DIVs resizable from not all sides I have some kind layout made using bootstrap.

Visually it looks:

Maybe someone can suggest any framework, or code solution to make DIVs re sizable, but only in some directions, not allow to re size sides which are outer. Here is explanation in picture:

Maybe someone can sugest code or lib how to make that.
I use angular, bootstrap.

A: From the picture I understand you want to drag and resize div from border lines.
css3 has a resize property with syntax:
resize: none|both|horizontal|vertical|initial|inherit;

with following css:
div {
   resize: both;
   overflow: auto;
}

You get nicely resizable box from both vertical and horizontal.
More:
http://www.w3schools.com/cssref/css3_pr_resize.asp
Note: This feature, though, is not supported by IE.

redpajama_set_name: RedPajamaStackExchange


text:
Buyer Enquiry
Rental Open Homes
My Base Finance
Shop 63, 14-16 Woodville Street, Hurstville
Please enter property address.
Suburb *
Please enter suburb.
Property Type *
Nothing selected Residential Business Commercial Rental Holiday Please select property type.
Property category *
{{ item.label }} Please select property category.
Property sub category *
{{ category.label }} Please select property sub category.
Min Land Area *
Nothing selected Any Land Area 100 m2 200 m2 300 m2 400 m2 500 m2 600 m2 700 m2 800 m2 900 m2 1,000 m2 5,000 m2 1 ha 2 ha 3 ha 5 ha 10 ha 50 ha 100 ha Please select Minimum Land Area.
Max Land Area *
Nothing selected Any Land Area 100 m2 200 m2 300 m2 400 m2 500 m2 600 m2 700 m2 800 m2 900 m2 1,000 m2 5,000 m2 1 ha 2 ha 3 ha 5 ha 10 ha 50 ha 100 ha Please select Maximum Land Area.
Block Width *
Nothing selected Any Frontage 10 m 20 m 30 m 40 m 50 m 60 m 70 m 80 m 90 m 100 m 150 m 200 m 300 m 400 m 500 m 1,000 m 2,000 m 3,000 m 4,000 m 5,000 m 10,000 m 20,000 m 30,000 m 40,000 m 50,000 m Please select Block Width.
Nothing selected Any Price $0 to $50,000 $50,000 to $100,000 $100,000 to $150,000 $150,000 to $200,000 $200,000 to $250,000 $250,000 to $300,000 $300,000 to $350,000 $350,000 to $400,000 $400,000 to $450,000 $450,000 to $500,000 $500,000 to $600,000 $600,000 to $700,000 $700,000 to $800,000 $800,000 to $900,000 $900,000 to $1,000,000 $1,000,000 to $1.5 mill $1.5 mill to $2 mill $2 mill to $2.5 mill $2.5 mill to $3 mill $3 mill to $3.5 mill $3.5 mill + Please select Price Range.
Please enter your title. Please enter your first name. Please enter your last name.
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{{ errorTitle }}
{{ errorDescription }}
Category {{ item.label }}
Suburb Hurstville Rockdale South Hurstville
Beds No Minimum 1+ 2+ 3+ 4+ 5+ 6+ 7+ 8+ 9+ 10+
Baths No Minimum 1+ 2+ 3+ 4+ 5+ 6+ 7+ 8+ 9+ 10+
Cars No Minimum 1+ 2+ 3+ 4+ 5+ 6+ 7+ 8+ 9+ 10+
Min price No Minimum $50,000 $100,000 $150,000 $200,000 $250,000 $300,000 $350,000 $400,000 $450,000 $500,000 $600,000 $700,000 $800,000 $900,000 $1,000,000 $1.5 mill $2 mill $2.5 mill $3 mill $3.5 mill
Max price No Maximum $50,000 $100,000 $150,000 $200,000 $250,000 $300,000 $350,000 $400,000 $450,000 $500,000 $600,000 $700,000 $800,000 $900,000 $1,000,000 $1.5 mill $2 mill $2.5 mill $3 mill $3.5 mill
Suburb Beverly Hills Riverwood
Min rent No Minimum $100 per Week $150 per Week $200 per Week $250 per Week $300 per Week $350 per Week $400 per Week $450 per Week $500 per Week $600 per Week $700 per Week $800 per Week $900 per Week $1,000 per Week $1,500 per Week $2,000 per Week $5,000 per Week $10,000 per Week
Max rent No Maximum $100 per Week $150 per Week $200 per Week $250 per Week $300 per Week $350 per Week $400 per Week $450 per Week $500 per Week $600 per Week $700 per Week $800 per Week $900 per Week $1,000 per Week $1,500 per Week $2,000 per Week $5,000 per Week $10,000 per Week
Shop 63, 14-16 Woodville Street, Hurstville, NSW, 2220 (02) 88809978 Email us
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© copyright - My Base Property & Finance Centre - 2023 website design by Lead Fleet, Powered by Aro Real Estate software
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{{ match.model.address_compiled | trust }} {{ match.model[match.model.display_address] | trust }}
ID {{ match.model.id }}
{{ match.model.n_bedrooms }} {{ match.model.n_bathrooms }} {{ match.model.n_car_spaces }}
{{ match.model.display_price }}

redpajama_set_name: RedPajamaCommonCrawl


text:
Boeing Space Based Space Surveillance Satellite Ready for Launch
EL SEGUNDO, Calif., Sept. 21, 2010 -- The Boeing Company [NYSE: BA] and its teammate Ball Aerospace & Technologies Corp. today announced that the Space Based Space Surveillance (SBSS) satellite...
Boeing Projects Steady Growth for Commercial Airplanes Market in Africa
More than 700 airplanes, worth $80 billion, needed in region over 20 years
Boeing (NYSE: BA) forecasts that air carriers in Africa will experience steady growth over the next 20 years as air travel in Africa continues to...
Boeing to Increase 737 Production Rate
Previously announced increase to 35 per month to be extended to 38 per month in second quarter 2013
Boeing (NYSE: BA) announced today its production rate for the Next-Generation 737 program will increase to 38 airplanes per month in the second quarter of 2013....
Boeing Wins DARPA Vulture II Program
ST. LOUIS, Sept. 16, 2010 -- The Boeing Company [NYSE: BA] on Sept. 14 signed an agreement with the U.S. Defense Advanced Research Projects Agency (DARPA) to develop and fly the SolarEagle...
Boeing Projects Requirement for More Than One Million Pilots and Maintenance Personnel Over Next 20 Years
Changes needed in training methodologies to engage next generation
The commercial aviation industry will require 466,650 pilots and 596,500 maintenance personnel over the next 20 years to accommodate the strong demand for new...
Boeing Response to Public Reports Regarding the WTO's Interim Decision in DS 353
Boeing (NYSE: BA) today released the following statement, responding to public reports indicating that the WTO panel examining European Union allegations of U.S....
Boeing and Space Adventures to Offer Commercial Spaceflight Opportunities
HOUSTON, Sept. 15, 2010 -- The Boeing Company [NYSE: BA] and Space Adventures, Ltd. have established a memorandum of agreement regarding the marketing of anticipated transportation services to...
Boeing Releases Statement in Advance of WTO Interim Decision
Boeing today released the following statement regarding the impending interim decision by a World Trade Organization (WTO) panel in DS 353, the formal complaint...
NASA Awards Boeing $1.24B Extension to International Space Station Sustainment Contract
HOUSTON, Sept. 14, 2010 -- Boeing [NYSE: BA] today announced that NASA has awarded the company an extension to the International Space Station (ISS) contract for sustaining engineering. The...
Boeing Assembles First 747-8 Intercontinental Forward Fuselage
Boeing (NYSE: BA) achieved another significant milestone for the first 747-8 Intercontinental Sunday night with the assembly of the airplane's forward...


The 4x4 roars off, kicking up a cloud of dust. With one hand on the wheel, the other stifling a yawn, Semegnew Bekele could do this trip with his eyes shut. A construction engineer, he has driven down this track at every hour of the day or night over the past three years. "Ordinary people are building an extraordinary project," he says. He is referring to the Grand Ethiopian Renaissance dam (Gerd), in the north-west corner of the country close to the border with Sudan. Four hours away from the town of Assosa more than 8,500 workers and engineers are labouring on a massive project to harness the waters of the Blue Nile.
The site is closely guarded. Only officially authorised vehicles are allowed through the three checkpoints. As the kilometres flicker by, the din of the diggers becomes more audible. Then the gigantic site itself appears, with thousands of tonnes of aggregate piled up and smooth expanses of concrete lining the bottom of the Guba valley, ringed by arid hills. The hundreds of families belonging to the Gumuz indigenous people, who lived off fishing, have been moved to a location several tens of kilometres away, making room for a hydroelectric power station that will be the largest in Africa when it comes online in 2017. At present only a third of it has been built.
Bekele, who works for the Ethiopian Electric Power corporation, has already worked on two dam construction jobs, both on the river Omo in the south-west. He answers our questions with a flood of figures: the dam will be 1,780 metres long and 145 high, with a reservoir covering 1,874 sq km expected to contain 70bn cubic metres of water. Output from the 16 turbines will total 6,000MW. It will be sufficient to meet growing demand in Ethiopia, now Africa's second most populous country, where gross domestic product is estimated to have grown by 10.5% annually over the past five years.
The countdown has already started for Bekele: he has three years left to complete this concrete colossus. "I don't feel like a special person," he says, "just an engineer leading the project." True enough, the driving force behind the dam is former prime minister Meles Zenawi, who ran the country for more than two decades. He was obsessed with the country's rebirth. The structure will be built, whatever the cost, he asserted, upon laying the first stone in April 2011. He died the following year.
International bodies such as Amnesty International and Human Rights Watch were extremely critical of his record on human rights, but he knew how to rouse national fervour and mobilise the country for the five-year growth and transformation plan launched in 2010, which included Gerd.
The scheme is expected to cost $4.1bn. As the country has not received any international funding, the government has appealed to the population to buy treasury bonds. For civil servants it is mandatory. Companies have urged their personnel to give up a month's wages to support Gerd. In a country where information is under strict control, it is hard to say whether they have much choice. "We agreed, we want to contribute to development," bank clerk Birhanu Libsework, 25, tells us in a cafe in Addis Ababa. "We're prepared to make sacrifices for better living standards and more energy," says Genet Getachew, an Amharic teacher. A single mother, she helps her daughter with her homework by candle light during the frequent outages in the capital. "The government mustn't try to do a thousand things at once, but this one is necessary," says Yeshi Negash (name changed at her request), a sociology graduate.
The government has already raised more than $350m, a third of which has been contributed by Ethiopians abroad.
Ethiopia hopes to become an African lion. "We have finished with the syndrome of dependence," says Zadig Abraha, deputy-head of Gerd coordination. "We want to recover our past glory," he adds.
Some neighbouring countries are less upbeat about the project. Citing two treaties, dating from 1929 and 1959, Egypt claims a historic right over the Nile. It fears that the dam will restrict the flow of water. The treaties, signed with the UK and Sudan, allocate two-thirds of the Nile's water resources to Egypt, with the right to veto any project affecting the world's longest river.
"These treaties are now obsolete. We are entitled to build the dam," says Alemayehu Tegenu, Ethiopia's minister of water, energy and irrigation. "For a long time we derived no benefit from our river."
Mohamed Ghoneim, the Egyptian representative to the African Union, disagrees. "It's impossible to undertake a project on this scale without environmental impact studies to assess the consequences for downstream countries," he counters, speculating on a range of potential disasters: salt may accumulate in the soil; land downstream could turn to desert or the flow be interrupted; the dam might even break. "The Nile is a vital resource for 80 million Egyptians," he adds.
In 2012, a year after work started, Addis Ababa tasked an international panel of experts (from Ethiopia, Egypt and Sudan among others) with a study of the project's human and economic impact. In May 2013 they reported that further studies were needed. The Ethiopians have refused, saying enough time has already been wasted. Egypt is demanding a second international panel. Negotiations between Ethiopia and Egypt are deadlocked.
Night falls on the site. In the temporary lodgings, several thousand workers are falling asleep, while the next shift are playing football, soon to resume work. In a few years the Guba valley will be flooded. "The whole area will become a tourist attraction," Bekele suggests hopefully. But what will happen to the Gumuz community, we inquire. The engineer tells us to turn off the recorder. "We're all making sacrifices for our country," he says. "It seems only natural."


text:
Q: Loop through a defaultdict(list) structure in a django template I have a structure my_dict like this:
defaultdict(<class 'list'>, {
   <MyClass: myobject1>: [<ThingClass: mything1>, <ThingClass: mything2>, ...],
   <MyClass: myobject2>: [<ThingClass: mything6>, <ThingClass: mything7>, ...],
   <MyClass: myobject3>: [<ThingClass: mything45>, <ThingClass: mything46>, ...],
   ...
})

I want to loop through the objects something like this:
{% for object in my_dict %}
    {{object.somefield}}
      {% for thing in object %}
          {{thing.somefield}}
      {% endfor %}
  {% endfor %}

How do I loop through the things in this nested loop? myobject1 is not iterable, so how do I get the iterable?

A: You should loop through .items() of the dictionary to get both object and the list in hand at each iteration:
{% for obj, things in my_dict.items %}
    {{obj.somefield}}

    {% for thing in things %}
        {{thing.somefield}}
    {% endfor %}

{% endfor %}


text:
by David Storey
Last Updated on May 5, 2015, by eNotes Editorial. Word Count: 651
Saville is a rich and detailed chronicle, an ambitious undertaking that tracks the progress of Colin Saville, the eldest son of a coal miner, from the 1930's through the 1950's and over the span of more than five hundred pages. It is regarded as Storey's most significant work, and it won the prestigious Man Booker Prize, Britain's top literary award for fiction.
Download Saville Study Guide
The Saville family lives in the coal-mining district of Yorkshire. Colin's father, Harry Saville, leads a life of backbreaking work in the coal pits. Harry hopes for something more for his sons, Colin, Steven, and Richard, but especially for Colin, whose education is a matter of priority. Harry is good-natured but also ignorant and slow-witted. The mother is somewhat depressed and lethargic, and the brothers are distant and unmotivated. Ironically, Colin's success pulling himself out of the coal-mining life and into a career as a teacher and poet creates resentment and bitterness in the family he leaves behind.
The story is realistic and objective, written in third-person voice. Despite that, the perception borders on first person, as every episode puts Colin at the center and all other characters are defined in terms of his relation to them—his father, his mother, or his brothers, for example. Nothing in the narrative is outside his direct experience. However, there is an important exception, for the novel begins some years before Colin's birth. The first chapter and most of the second chapter deal with the birth and early life of Andrew, the son who died six months before Colin was born.
The exception is deliberate, for Storey creates a kind of ghostly presence hovering over Colin, who was expected to be the worthy replacement for Andrew. A much later scene has Colin visiting the cemetery where Andrew is buried and exorcizing his brother's ghost to liberate himself so he can pursue his own life.
The life of the Savilles in Saxton, Yorkshire, is a microcosm set against the larger world of the Great Depression, World War II, the gradual breakdown of the British class system, and the fall of the British Empire. These forces contribute to Colin's opportunity to shape a new life beyond the coal pits, but they also drive a wedge between Colin and his family. It is not that the family is cruel, loveless, or untrusting. Colin feels a strong bond and a sense of responsibility for his family. Similarly he develops strong friendships with others in his neighborhood. However, his abilities and his determination take him to new experiences far outside the realm of friends and family.
There are those who would like to pull Colin back and others who unwittingly hamper his ambitions. Among the former are the masters in his school, who like to abuse him verbally and hold him in check, as if they would prefer that he fail to realize his talents. Among the latter are Stafford, a friend and the son of one of the mine owners, whose social status ultimately alienates him from Colin. Colin's love for Margaret, the daughter of a well-to-do physician, is similarly thwarted by the strictures of society. It is as though he becomes classless and belongs nowhere in that strange, unstable world of post-World War II England. Indeed, Elizabeth, a middle-aged woman who becomes a sort of substitute mother, tells him, "You don't really belong to anything. . . . You're not really a teacher. You're not really anything. You don't belong to any class, since you live with one class, respond like another, and feel attachment to none."
In Colin's farewell meeting with Margaret, who stays in Saxton while he moves to London, she says that changing the scenery does not change who one is, and she describes Colin "of belonging nowhere; of belonging to no one; of knowing that nowhere you stay is very real."
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text:
Q: PL/SQL Dynamic SQL : Table name not valid I'm currently learning PL/SQL. I need to create a PL/SQL block to create a backup of all my tables like this : myTable -> myTable_old.
Here's what I got right now :
DECLARE
Cursor c IS SELECT table_name
            FROM user_tables
            WHERE table_name NOT LIKE '%_old';
sql_slc VARCHAR2(200);
sql_drp VARCHAR2(200);
sql_crt VARCHAR2(200);
row_count NUMBER;
t_name user_tables.table_name%type;
t_backup_name user_tables.table_name%type;

BEGIN
    sql_drp := 'DROP TABLE :1 CASCADE';
    sql_crt := 'CREATE TABLE :1 AS SELECT * FROM :2';
    sql_slc := 'SELECT COUNT(*) FROM user_tables WHERE table_name = :1';
    OPEN c;
    LOOP
        FETCH c INTO t_name;
        EXIT WHEN (c%NOTFOUND);
        t_backup_name := t_name || '_old';
        dbms_output.put_line(t_name || ' ' || t_backup_name);

        EXECUTE IMMEDIATE sql_slc INTO row_count USING t_backup_name;
        IF row_count > 0 THEN
            dbms_output.put_line(t_backup_name || ' dropped');
            EXECUTE IMMEDIATE sql_drp USING t_backup_name;
        END IF;
        dbms_output.put_line(t_backup_name || ' created');
        EXECUTE IMMEDIATE sql_crt USING t_backup_name, t_name;
        COMMIT;
    END LOOP;
    CLOSE c;
END;
/

Here's the error :
OUVRAGE OUVRAGE_old
OUVRAGE_old created
DECLARE
*
ERROR on line 1 :
ORA-00903: table name not valid
ORA-06512: on line 29

I don't understand why this error is coming up, can someone help me ?

A: The issue is that you can not use bind variables for table names; Oracle documentation:

The database uses the values of bind variables exclusively and does
not interpret their contents in any way.

You should edit your code to use concatenation instead:
DECLARE
  Cursor c IS SELECT table_name
              FROM user_tables
              WHERE table_name NOT LIKE '%_OLD';           /* OLD, upper case */
  sql_slc VARCHAR2(200);
  --sql_drp VARCHAR2(200);
  --sql_crt VARCHAR2(200);
  row_count NUMBER;
  t_name user_tables.table_name%type;
  t_backup_name user_tables.table_name%type;
BEGIN
--   sql_drp := 'DROP TABLE :1 CASCADE';
--   sql_crt := 'CREATE TABLE :1 AS SELECT * FROM :2';
   sql_slc := 'SELECT COUNT(*) FROM user_tables WHERE table_name = :1';

   OPEN c;

   LOOP
      FETCH c INTO t_name;

      EXIT WHEN (c%NOTFOUND);
      t_backup_name := t_name || '_OLD';                                        /* OLD, upper case */
      DBMS_OUTPUT.put_line (t_name || ' ' || t_backup_name);

      EXECUTE IMMEDIATE sql_slc INTO row_count USING t_backup_name;

      IF row_count > 0
      THEN
         DBMS_OUTPUT.put_line (t_backup_name || ' dropped');

--         EXECUTE IMMEDIATE sql_drp USING t_backup_name;
         EXECUTE IMMEDIATE ' drop table ' || t_backup_name;                     /* concatenation and not bind variables */
      END IF;

      DBMS_OUTPUT.put_line (t_backup_name || ' created');                       /* concatenation and not bind variables */
--      EXECUTE IMMEDIATE sql_crt USING t_backup_name, t_name;
      EXECUTE IMMEDIATE 'create table ' || t_backup_name || ' as select * from ' || t_name;

      COMMIT;
   END LOOP;

   CLOSE c;
END;

Also, notice that, if not double quoted, object names always are uppercase, so you have to look for t_name || '_OLD' and not t_name || '_old'


text:
Break-Up Stories
A Memory of Sea
The Mango Summer
How To Write A Story (Not About Love)
The Universal Plot
Why I Won't Have Sex With You
A Portrait of an Artist as a Father
Mideast to Midwest: Wafaa Bilal Puts a Face to War
Scene and Be Seen: The We Are Night Owls crew is blowing up the IE's club scene—and taking photos all the way
'Tube, Where's My Star? No label, no airplay—no problem for AJ Rafael and the Internet stars of Generation YouTube
Finding Santi
lilledeshan bose
"Many rooms, many dreams, many countries in the same space."
Vampire Weekend @ Turner Hall
Posted on April 8, 2008 by lillitot
I was kind of nervous about watching the sold-out Vampire Weekend show at Turner Hall Ballroom on Saturday, mostly because I didn't want them to let me down. There's a lot of hype, backlash, and clothing commentary involved in the band's coverage so far, but the bottom line is their debut is one of the strongest albums of 2008 so far. Who can blame the band for the mass hysteria surrounding them, ironic or otherwise?
Luckily, the Turner Hall audience didn't seem to care about hipster hype or backlash. The audience wasn't even made up of hipsters: It was mostly teenagers in the crowd, chaperoned by their parents. There was a buzz in the air that was heady and reminded me of high school/parish fairs, where audience members would randomly burst into choruses of "Oxford Comma" or "One." Opener Yacht probably benefited from that anticipation greatly — the crowd was much more receptive because they wanted to let off steam. (BTW, I'm sure everyone knows this already, but it's still super cool that Yacht's Jona Bechtolt designed the MacBook Air manila envelope case with his girlfriend.)
With hardly any beards, horn-rimmed glasses or argyle in attendance, it seemed natural that Ezra Koenig and company could give the crowd the show they wanted — energetic, hit-filled, dance-y, with a little bit of a sing-along here and there. It wasn't mind-blowing, but it was fun.
The first half ("Cape Cod Kwassa Kwassa," "Mansard Roof," "Campus") sounded rougher than the second. By the time Koenig introduced "A Punk" with "If you have to dance to one of our songs, this would be it," EVERYONE was going wild — and you could tell that no one cared if there were awkward breaks between songs, or Koenig's voice wasn't in top form (hey, they've been touring a while), or the stage banter was random and unfunny (they want a Brewers shirt, it's their first time in Milwaukee, Turner Hall is the nicest place they've played, yadda yadda yadda).
The boys seemed really nice and polite, and requisitely, the crowd danced through every single bit of it. They also played a new song in the same "West Side Soweto"-style, which wasn't a marked departure from their hits.
So here's the verdict: Watching Vampire Weekend at Turner Hall was like going on a first date with a cute boy you've always had a faraway crush on. You don't have that much to talk about (mostly because you've already Googled him to death), so there are a lot of uncomfortable silences. And in the end, you just make out so it's not a total loss, and everyone ends up going home a sweaty mess of fun.
Oh, an in case you were wondering: There wasn't a single sweater on stage, either. Instead, keyboardist Rostam Batmanglij was wearing an I Heart NY shirt. Unironically, I presumed.
Tagged: milwaukee, turner hall, vampire weekend
Posted in: concert photography, music
← Phish poetics at the MKE offices
Interview: Mac Lethal →
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Adam Lovinus
Amir Motlagh
Apol Lejano
BemBang!
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Edd Aragon
Heard Mentality
Jan Garcia Photography
Joe Vince
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Outside Looking In
Santiago Bose
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Theme: Inuit Types by BizzArtic.


In the wake of the new proposed guidelines by the Ontario government, "common traffic injuries" (CTI) will be the new collective term to encompass injuries with recovery times ranging from a few days to a few months. This new regime is expected to impact approximately 60,000 Ontarians each year. Included in this definition will be all of the injuries that previously fell within the Minor Injury Guideline with the addition of minor head injuries.
Injuries are categorized into three categories: Type I, Type II, or Type III injuries. These categories are further divided by phase: Recent (zero to three months post-collision) or Persistent (four to six months post-collision).
One concern is that under this regime, injured individuals will require a physician or nurse practitioner to provide substantial evidence as to why the individual's injuries should exclude them from the CTI, which will prevent a large percentage of those injured in an accident from obtaining the medical and rehabilitative treatment they require. The substantial evidence that will be required must reveal a neurological disorder, psychosis, or severe PTSD or a severe pathology. Another concern with the proposed guidelines is that those who are allowed to commence and coordinate the goods and services under CTI constitute a very small group of individuals. Excluded from this group are occupational therapists, speech pathologists, and psychologists, all of whom regularly treat those injured following a motor vehicle accident.
As a result of the proposed guidelines, the Ontario Trial Lawyers' Association (OTLA) estimates that treatment costs under one of the CTI guidelines will be approximately $1,000 whereas prior to 2010 most injured individuals had $100,000 available to them through their automobile insurer for medical and rehabilitative treatment.
If you have been injured due to a motor vehicle accident and are unsure as to what benefits your automobile insurer can provide, or what compensation you are reasonably entitled to for your pain and suffering, income loss, and/or future medical treatment, KCY at LAW has the experience and expertise necessary to effectively handle your motor vehicle accident claim.
Contact KCY at LAW today at 905-639-0999 or online to book a FREE consultation!


text:
Amazon Promises Package Delivery By Drone: Is It for Real?
RoboticsNewsTypeTopic
Getting your purchases delivered by a drone? We're skeptical, and here's why
dronesAmazonPrimeAirprimeairJeff Bezosdrone delivery
Okay, look. I know that the idea of having drones deliver stuff sounds like the future. And there are a lot of companies making promises about it, including, this weekend, Amazon. "We'll be ready to enter commercial operations as soon as the necessary regulations are in place [in 2015]," Amazon says. The reason that Amazon can say this, and that it sounds so exciting, is that it is technically possible to put together a demo like the one they've just unveiled, where you have a drone autonomously transport an object from one place to another.
However, once you get past the wow factor and start thinking critically about what it would take to make something like this work in practice, it starts to look a lot less realistic very, very quickly.
Here's the video, just so you know what I'm getting all worked up about:
Amazon, for the record, does not say that their technology is ready to be implemented as-is. They're going to have everything ready by 2015, when new airspace rules from the U.S. Federal Aviation Administration will allow for some sort of commercial drone operations. That's really not that long from now: it's going to be 2014 in a month. Notably, Jeff Bezos himself seems to be a little more pessimistic than the Amazon Prime Air page is, as he expressed to Charlie Rose on 60 Minutes last night:
"I know this looks like science-fiction," Bezos tells a jaw-dropped Rose. "It's not. It's early; this is still years away . . . we can do half-hour delivery, and we can carry objects—we think—up to five pounds, which covers 86 percent of the items that we deliver."
Bezos says the current generation of test drones have a 10-mile radius from a fulfillment center. Given the growing number of Amazon warehouses out there, that would cover quite a substantial portion of some major metro areas.
"I know it can't be before 2015 because that's the earliest that we could get the rules from the FAA," Bezos says. "My guess is that's pretty a little optimistic. But could it be four to five years? I think so. It will work and it will happen, and it's gonna be a lot of fun."
That sounds great, but here are just a few of the existing issues that an idea like this is going to have to robustly solve before urban drone delivery on a commercial scale will work:
Navigation: Drones using GPS (differential or otherwise) have no trouble navigating around open areas or landing in fields. We're probably dealing with an accuracy of somewhere between 3 and 10 meters, which is fine for most applications. But it's not fine for landing on the front steps of a house as shown in the video, especially when there are obstacles (like trees) all over the place. Furthermore, how does the drone know where to go? You can't just give it an address; it needs precise GPS coordinates. Aerial maps usually aren't updated frequently enough to show obstacles, and if you leave it in the hands of the consumer (through, say, a GPS-enabled app), you're going to get a bunch of people giving your drone the coordinates of their homes with 50 meters of error.
Obstacle avoidance: Even if you get all of the navigation bugs worked out, the only way it's going to make sense to make deliveries like this is if you're in a high-density urban area. That implies lots of buildings and power lines and telephone poles and pigeons and trees and stuff all over the place, and your drone is going to have to safely avoid all of them by itself. This is certainly possible, but doing it dynamically (in real-time on board the drone) is going to require a lot of computing power and some relatively sophisticated sensors, like (at a bare minimum) a camera that's high-resolution enough to pick out black power lines against black pavement. And then once the drone gets to where it's going, it's going to have to locate a safe place to land and drop off its box, which brings us to safety issues.
Safety and liability: These drones are not toys. In order to lift a 5 pound payload for 20 minutes with redundancy, you need big motors with big props. Even small motors with small props hurt (try sticking your finger into the prop of an AR Drone while it's hovering), and big motors with big props can likely cause significant injury. The amount of interaction between the drones and humans is intended to be minimal, but these things are autonomously delivering packages to ground level while fully powered. Adult humans probably (I should stress that "probably") have the sense to stay away, but what about kids? What about pets? And this doesn't even get into what happens if one of these things actually crashes for whatever reason, which they almost certainly will from time to time, if for no other reason than weather is unpredictable.
Legality: It's not likely that the FAA is going to suddenly open up airspace into a wild unmanned free-for-all in 2015. What's more likely is that new rules will allow unmanned aircraft in public airspace, which is generally 500 or 1,000 feet away from all obstacles (including the ground). In keeping with a 1946 Supreme Court Ruling (read more about this here), operating aircraft (or anything else) too low over private property constitutes a violation of the property owner's rights. What this means is that it's probably not going to be legal to fly unmanned drones over private property below 500 feet, which makes it a lot more difficult to make deliveries.
Cost: At the end of the day, the question is really whether it's going to be worth it to (attempt to) implement a system like this for anything but the novelty factor. With companies like Google and its partners already offering same-day delivery (within a three hour window) for all sorts of things of any size and weight in some urban areas, is there really that much value to attempting to use (by definition) expensive and problematic robots to narrow that three hour window to 30 minutes?
I'm probably coming off as some sort of curmudgeon here. Honestly, I want more than anyone for this to be the future, I really do. And most, if not all, of these problems are certainly solvable, and will be solved at some point, especially in non-urban contexts like agriculture. However, solving them in a year or two (or even five) looks exceptionally difficult, even with resources like Amazon can bring to bear. Getting something like this to work autonomously even in a carefully controlled environment would be quite a challenge, to say nothing of an actual urban environment.
The point is, I just don't see urban drone delivery happening in the next few years, and I feel like when companies (especially big companies like Amazon) make claims like these, it ends up creating unrealistic expectations for robotics as a whole. We don't want robotics to turn into the next flying car, where the promised fantasy encouraged by some cannot possibly match the reality that many others are trying to achieve. Again, I'd love to be proved wrong about all of this, but until I am, I feel like it's important to keep on taking a critical look at ideas like these to make sure that they stay grounded in reality. What do you think?
[ Amazon ]
Amazon Shows Off Lofty Plans for Delivery by Drone - IEEE Spectrum ›
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TransportationTopicMagazineTypeJanuary 2023The Big Picture
Amazon Shows Off Lofty Plans for Delivery by Drone
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RoboticsTopicMagazineTypeFeatureOctober 2022
The Bionic-Hand Arms Race
The prosthetics industry is too focused on high-tech limbs that are complicated, costly, and often impractical
Britt H. Young
The author, Britt Young, holding her Ottobock bebionic bionic arm.
Gabriela Hasbun. Makeup: Maria Nguyen for MAC cosmetics; Hair: Joan Laqui for Living Proof
In Jules Verne's 1865 novel From the Earth to the Moon, members of the fictitious Baltimore Gun Club, all disabled Civil War veterans, restlessly search for a new enemy to conquer. They had spent the war innovating new, deadlier weaponry. By the war's end, with "not quite one arm between four persons, and exactly two legs between six," these self-taught amputee-weaponsmiths decide to repurpose their skills toward a new projectile: a rocket ship.
The story of the Baltimore Gun Club propelling themselves to the moon is about the extraordinary masculine power of the veteran, who doesn't simply "overcome" his disability; he derives power and ambition from it. Their "crutches, wooden legs, artificial arms, steel hooks, caoutchouc [rubber] jaws, silver craniums [and] platinum noses" don't play leading roles in their personalities—they are merely tools on their bodies. These piecemeal men are unlikely crusaders of invention with an even more unlikely mission. And yet who better to design the next great leap in technology than men remade by technology themselves?
As Verne understood, the U.S. Civil War (during which 60,000 amputations were performed) inaugurated the modern prosthetics era in the United States, thanks to federal funding and a wave of design patents filed by entrepreneurial prosthetists. The two World Wars solidified the for-profit prosthetics industry in both the United States and Western Europe, and the ongoing War on Terror helped catapult it into a US $6 billion dollar industry across the globe. This recent investment is not, however, a result of a disproportionately large number of amputations in military conflict: Around 1,500 U.S. soldiers and 300 British soldiers lost limbs in Iraq and Afghanistan. Limb loss in the general population dwarfs those figures. In the United States alone, more than 2 million people live with limb loss, with 185,000 people receiving amputations every year. A much smaller subset—between 1,500 to 4,500 children each year—are born with limb differences or absences, myself included.
Today, the people who design prostheses tend to be well-intentioned engineers rather than amputees themselves. The fleshy stumps of the world act as repositories for these designers' dreams of a high-tech, superhuman future. I know this because throughout my life I have been fitted with some of the most cutting-edge prosthetic devices on the market. After being born missing my left forearm, I was one of the first cohorts of infants in the United States to be fitted with a myoelectric prosthetic hand, an electronic device controlled by the wearer's muscles tensing against sensors inside the prosthetic socket. Since then, I have donned a variety of prosthetic hands, each of them striving toward perfect fidelity of the human hand—sometimes at a cost of aesthetics, sometimes a cost of functionality, but always designed to mimic and replace what was missing.
In my lifetime, myoelectric hands have evolved from clawlike constructs to multigrip, programmable, anatomically accurate facsimiles of the human hand, most costing tens of thousands of dollars. Reporters can't get enough of these sophisticated, multigrasping "bionic" hands with lifelike silicone skins and organic movements, the unspoken promise being that disability will soon vanish and any lost limb or organ will be replaced with an equally capable replica. Prosthetic-hand innovation is treated like a high-stakes competition to see what is technologically possible. Tyler Hayes, CEO of the prosthetics startup Atom Limbs, put it this way in a WeFunder video that helped raise $7.2 million from investors: "Every moonshot in history has started with a fair amount of crazy in it, from electricity to space travel, and Atom Limbs is no different."
We are caught in a bionic-hand arms race. But are we making real progress? It's time to ask who prostheses are really for, and what we hope they will actually accomplish. Each new multigrasping bionic hand tends to be more sophisticated but also more expensive than the last and less likely to be covered (even in part) by insurance. And as recent research concludes, much simpler and far less expensive prosthetic devices can perform many tasks equally well, and the fancy bionic hands, despite all of their electronic options, are rarely used for grasping.
Activity arms, such as this one manufactured by prosthetics firm Arm Dynamics, are less expensive and more durable than bionic prostheses. The attachment from prosthetic-device company Texas Assistive Devices rated for very heavy weights, allowing the author to perform exercises that would be risky or impossible with her much more expensive bebionic arm.Gabriela Hasbun; Makeup: Maria Nguyen for MAC cosmetics; Hair: Joan Laqui for Living Proof
Function or Form
In recent decades, the overwhelming focus of research into and development of new artificial hands has been on perfecting different types of grasps. Many of the most expensive hands on the market differentiate themselves by the number and variety of selectable prehensile grips. My own media darling of a hand, the bebionic from Ottobock, which I received in 2018, has a fist-shaped power grip, pinching grips, and one very specific mode with thumb on top of index finger for politely handing over a credit card. My 21st-century myoelectric hand seemed remarkable—until I tried using it for some routine tasks, where it proved to be more cumbersome and time consuming than if I had simply left it on the couch. I couldn't use it to pull a door shut, for example, a task I can do with my stump. And without the extremely expensive addition of a powered wrist, I couldn't pour oatmeal from a pot into a bowl. Performing tasks the cool bionic way, even though it mimicked having two hands, wasn't obviously better than doing things my way, sometimes with the help of my legs and feet.
When I first spoke with Ad Spiers, lecturer in robotics and machine learning at Imperial College London, it was late at night in his office, but he was still animated about robotic hands—the current focus of his research. Spiers says the anthropomorphic robotic hand is inescapable, from the reality of today's prosthetics to the fantasy of sci-fi and anime. "In one of my first lectures here, I showed clips of movies and cartoons and how cool filmmakers make robot hands look," Spiers says. "In the anime Gundam, there are so many close-ups of gigantic robot hands grabbing things like massive guns. But why does it need to be a human hand? Why doesn't the robot just have a gun for a hand?"
It's time to ask who prostheses are really for, and what we hope they will actually accomplish.
Spiers believes that prosthetic developers are too caught up in form over function. But he has talked to enough of them to know they don't share his point of view: "I get the feeling that people love the idea of humans being great, and that hands are what make humans quite unique." Nearly every university robotics department Spiers visits has an anthropomorphic robot hand in development. "This is what the future looks like," he says, and he sounds a little exasperated. "But there are often better ways."
The vast majority of people who use a prosthetic limb are unilateral amputees—people with amputations that affect only one side of the body—and they virtually always use their dominant "fleshy" hand for delicate tasks such as picking up a cup. Both unilateral and bilateral amputees also get help from their torsos, their feet, and other objects in their environment; rarely are tasks performed by a prosthesis alone. And yet, the common clinical evaluations to determine the success of a prosthetic are based on using only the prosthetic, without the help of other body parts. Such evaluations seem designed to demonstrate what the prosthetic hand can do rather than to determine how useful it actually is in the daily life of its user. Disabled people are still not the arbiters of prosthetic standards; we are still not at the heart of design.
The Hosmer Hook [left], originally designed in 1920, is the terminal device on a body-powered design that is still used today. A hammer attachment [right] may be more effective than a gripping attachment when hammering nails into wood.Left: John Prieto/The Denver Post/Getty Images; Right: Hulton-Deutsch Collection/Corbis/Getty Images
Prosthetics in the Real World
To find out how prosthetic users live with their devices, Spiers led a study that used cameras worn on participants' heads to record the daily actions of eight people with unilateral amputations or congenital limb differences. The study, published last year in IEEE Transactions on Medical Robotics and Bionics, included several varieties of myoelectric hands as well as body-powered systems, which use movements of the shoulder, chest, and upper arm transferred through a cable to mechanically operate a gripper at the end of a prosthesis. The research was conducted while Spiers was a research scientist at Yale University's GRAB Lab, headed by Aaron Dollar. In addition to Dollar, he worked closely with grad student Jillian Cochran, who coauthored the study.
Watching raw footage from the study, I felt both sadness and camaraderie with the anonymous prosthesis users. The clips show the clumsiness, miscalculations, and accidental drops that are familiar to even very experienced prosthetic-hand users. Often, the prosthesis simply helps brace an object against the body to be handled by the other hand. Also apparent was how much time people spent preparing their myoelectric prostheses to carry out a task—it frequently took several extra seconds to manually or electronically rotate the wrists of their devices, line up the object to grab it just right, and work out the grip approach.The participant who hung a bottle of disinfectant spray on their "hook" hand while wiping down a kitchen counter seemed to be the one who had it all figured out.
In the study, prosthetic devices were used on average for only 19 percent of all recorded manipulations. In general, prostheses were employed in mostly nonprehensile actions, with the other, "intact" hand doing most of the grasping. The study highlighted big differences in usage between those with nonelectric, body-powered prosthetics and those with myoelectric prosthetics. For body-powered prosthetic users whose amputation was below the elbow, nearly 80 percent of prosthesis usage was nongrasping movement—pushing, pressing, pulling, hanging, and stabilizing. For myoelectric users, the device was used for grasping just 40 percent of the time.
More tellingly, body-powered users with nonelectric grippers or split hooks spent significantly less time performing tasks than did users with more complex prosthetic devices. Spiers and his team noted the fluidity and speed with which the former went about doing tasks in their homes. They were able to use their artificial hands almost instantaneously and even experience direct haptic feedback through the cable that drives such systems. The research also revealed little difference in use between myoelectric single-grasp devices and fancier myoelectric multiarticulated, multigrasp hands—except that users tended to avoid hanging objects from their multigrasp hands, seemingly out of fear of breaking them.
"We got the feeling that people with multigrasp myoelectric hands were quite tentative about their use," says Spiers. It's no wonder, since most myoelectric hands are priced over $20,000, are rarely approved by insurance, require frequent professional support to change grip patterns and other settings, and have costly and protracted repair processes. As prosthetic technologies become more complex and proprietary, the long-term serviceability is an increasing concern. Ideally, the device should be easily fixable by the user. And yet some prosthetic startups are pitching a subscription model, in which users continue to pay for access to repairs and support.
Despite the conclusions of his study, Spiers says the vast majority of prosthetics R&D remains focused on refining the grasping modes of expensive, high-tech bionic hands. Even beyond prosthetics, he says, manipulation studies in nonhuman primate research and robotics are overwhelmingly concerned with grasping: "Anything that isn't grasping is just thrown away."
TRS makes a wide variety of body-powered prosthetic attachments for different hobbies and sports. Each attachment is specialized for a particular task, and they can be easily swapped for a variety of activities. Fillauer TRS
Grasping at History
If we've decided that what makes us human is our hands, and what makes the hand unique is its ability to grasp, then the only prosthetic blueprint we have is the one attached to most people's wrists. Yet the pursuit of the ultimate five-digit grasp isn't necessarily the logical next step. In fact, history suggests that people haven't always been fixated on perfectly re-creating the human hand.
As recounted in the 2001 essay collection Writing on Hands: Memory and Knowledge in Early Modern Europe, ideas about the hand evolved over the centuries. "The soul is like the hand; for the hand is the instrument of instruments," Aristotle wrote in De Anima. He reasoned that humanity was deliberately endowed with the agile and prehensile hand because only our uniquely intelligent brains could make use of it—not as a mere utensil but a tool for apprehensio, or "grasping," the world, literally and figuratively.
More than 1,000 years later, Aristotle's ideas resonated with artists and thinkers of the Renaissance. For Leonardo da Vinci, the hand was the brain's mediator with the world, and he went to exceptional lengths in his dissections and illustrations of the human hand to understand its principal components. His meticulous studies of the tendons and muscles of the forearm and hand led him to conclude that "although human ingenuity makes various inventions…it will never discover inventions more beautiful, more fitting or more direct than nature, because in her inventions nothing is lacking and nothing is superfluous."
Da Vinci's illustrations precipitated a wave of interest in human anatomy. Yet for all of the studious rendering of the human hand by European masters, the hand was regarded more as an inspiration than as an object to be replicated by mere mortals. In fact, it was widely accepted that the intricacies of the human hand evidenced divine design. No machine, declared the Christian philosopher William Paley, is "more artificial, or more evidently so" than the flexors of the hand, suggesting deliberate design by God.
Performing tasks the cool bionic way, even though it mimicked having two hands, wasn't obviously better than doing things my way, sometimes with the help of my legs and feet.
By the mid-1700s, with the Industrial Revolution in the global north, a more mechanistic view of the world began to emerge, and the line between living things and machines began to blur. In her 2003 article " Eighteenth-Century Wetware," Jessica Riskin, professor of history at Stanford University, writes, "The period between the 1730s and the 1790s was one of simulation, in which mechanicians tried earnestly to collapse the gap between animate and artificial machinery." This period saw significant changes in the design of prosthetic limbs. While mechanical prostheses of the 16th century were weighed down with iron and springs, a 1732 body-powered prosthesis used a pulley system to flex a hand made of lightweight copper. By the late 18th century, metal was being replaced with leather, parchment, and cork—softer materials that mimicked the stuff of life.
The techno-optimism of the early 20th century brought about another change in prosthetic design, says Wolf Schweitzer, a forensic pathologist at the Zurich Institute of Forensic Medicine and an amputee. He owns a wide variety of contemporary prosthetic arms and has the necessary experience to test them. He notes that anatomically correct prosthetic hands have been carved and forged for the better part of 2,000 years. And yet, he says, the 20th century's body-powered split hook is "more modern," its design more willing to break the mold of the human hand.
"The body powered arm—in terms of its symbolism—(still) expresses the man-machine symbolism of an industrial society of the 1920s," writes Schweitzer in his prosthetic arm blog, "when man was to function as clockwork cogwheel on production lines or in agriculture." In the original 1920s design of the Hosmer Hook, a loop inside the hook was placed just for tying shoes and another just for holding cigarettes. Those designs, Ad Spiers told me, were "incredibly functional, function over form. All pieces served a specific purpose."
Schweitzer believes that as the need for manual labor decreased over the 20th century, prostheses that were high-functioning but not naturalistic were eclipsed by a new high-tech vision of the future: "bionic" hands. In 2006, the U.S. Defense Advanced Research Projects Agency launched Revolutionizing Prosthetics, a research initiative to develop the next generation of prosthetic arms with "near-natural" control. The $100 million program produced two multi-articulating prosthetic arms (one for research and another that costs over $50,000). More importantly, it influenced the creation of other similar prosthetics, establishing the bionic hand—as the military imagined it—as the holy grail in prosthetics. Today, the multigrasp bionic hand is hegemonic, a symbol of cyborg wholeness.
And yet some prosthetic developers are pursuing a different vision. TRS, based in Boulder, Colo., is one of the few manufacturers of activity-specific prosthetic attachments, which are often more durable and more financially accessible than robotic prosthetics. These plastic and silicone attachments, which include a squishy mushroom-shaped device for push-ups, a ratcheting clamp for lifting heavy weights, and a concave fin for swimming, have helped me experience the greatest functionality I have ever gotten out of a prosthetic arm.
Such low-tech activity prostheses and body-powered prostheses perform astonishingly well, for a tiny fraction of the cost of bionic hands. They don't look or act like human hands, and they function all the better for it. According to Schweitzer, body-powered prostheses are regularly dismissed by engineers as "arcane" or derisively called "Captain Hook." Future bionic shoulders and elbows may make a huge difference in the lives of people missing a limb up to their shoulder, assuming those devices can be made robust and affordable. But for Schweitzer and a large percentage of users dissatisfied with their myoelectric prosthesis, the prosthetic industry has yet to provide anything fundamentally better or cheaper than body-powered prostheses.
The Breakthroughs We Want
Bionic hands seek to make disabled people "whole," to have us participate in a world that is culturally two-handed. But it's more important that we get to live the lives we want, with access to the tools we need, than it is to make us look like everyone else. While many limb-different people have used bionic hands to interact with the world and express themselves, the centuries-long effort to perfect the bionic hand rarely centers on our lived experiences and what we want to do in our lives.
We've been promised a breakthrough in prosthetic technology for the better part of 100 years now. I'm reminded of the scientific excitement around lab-grown meat, which seems simultaneously like an explosive shift and a sign of intellectual capitulation, in which political and cultural change is passed over in favor of a technological fix. With the cast of characters in the world of prosthetics—doctors, insurance companies, engineers, prosthetists, and the military—playing the same roles they have for decades, it's nearly impossible to produce something truly revolutionary.
In the meantime, this metaphorical race to the moon is a mission that has forgotten its original concern: helping disabled people acquire and use the tools they want. There are inexpensive, accessible, low-tech prosthetics that are available right now and that need investments in innovation to further bring down costs and improve functionality. And in the United States at least, there is a broken insurance system that needs fixing. Releasing ourselves from the bionic-hand arms race can open up the possibilities of more functional designs that are more useful and affordable, and might help us bring our prosthetic aspirations back down to earth.
This article appears in the October 2022 print issue.
Creating a Prosthetic Hand That Can Feel - IEEE Spectrum ›
Building a Super Robust Robot Hand - IEEE Spectrum ›
Bionic Hand Gives Amputees Sense of Touch - IEEE Spectrum ›
Should Right-to-Repair Laws Extend to Bionic Body Parts? - IEEE ... ›
What Robotics Experts Think of Tesla's Optimus Robot ›


Unit 1 -The Nature of Science! - Physics Super Brain!
Today we will briefly cover your syllabus, begin our science notebooks and discuss expectations for the class. Our first classwork grade will be taken today, as we review the three "A's" of Lab safety, attire, attention and attitude. We will go over the entire sheet as a class, then I will enter grades as I rotate to check your work. This is your first grade.
These books should answer each question using complete, grammatically correct sentences.
The information for each page is listed below.
3.) What is happening in my life right now? Tell me anything I should know. This information is confidential.
4.) What are your interests and hobbies?
5.) Who do you want to be?
6.) What do you want to do?
7.) What are your big dreams?
8.) Tell me about any other neat talents, skills, or general awesomeness you want to share.
During class today, we will cover a review of the scientific methods. Your Pre-test has been moved to Monday, 08/15/2016, due to technical issues. These notes will be graded. If you complete 1/2, expect a 50%, if you take none (but were in class), expect a 1% for your grade. I will grade as we go, and tell you exactly what to write, so there is absolutely no reason you should earn less than 100%. If you earn a 50% or below, please evaluate your behavior in class.
At the beginning of class, we will wake our reasoning brains with a puzzle. It might seem super easy at first, but looks can be deceiving! Next we will look at a short pptx highlighting the nature of science. We will ask: What does a scientist look like? What does a scientist do? We will quickly address some scientific methods and issues before taking your Pre-Test for the course.
You will then take your pre-test. Each student will be assigned a computer to test on. Please ensure that you do not pluck out the keys or damage the computer in any way, as you are responsible for returning it in optimum condition. You will have one hour to complete the test. Please work diligently and do your best, as this will help gauge the areas that we need to focus upon.
As with all tests in my classroom, you are not permitted to talk at all until EVERYONE has completed the test. Each student is so important and all deserve to complete their test in silence. If you begin talking or making noise, you will earn a zero = 0% =in the gradebook. THIS STANDS FOR ALL QUZZES & TESTS GIVEN. Additionally, I will notify your parent of the grade reduction afterwards. Therefore, it is best to behave appropriately throughout the test.
Today we will complete our labs data. You will modify your plane and then we will use the data to complete the data tables and create graphs. I will provide instructions on how to create the graphs. You will also select two sets of data (one for distance and one for time) and determine the mean, median and mode. These will be placed on the right hand margin next to the graphs. The bottom of the page is where you will write your Conclusion. Before submitting your individual labs, you will trade them with a neighbor and check them with the rubric. This allows you to make corrections before you submit it to me for grading.
08/18/2016 - Complete Labs, Check Against Rubrics & Submit.
The title above pretty much sums up what we're doing.
After the quiz, you will complete a mini-measurement activity to prep your minds for measuring.
For each question missed, using complete sentences, please tell me the following: 1.) Why you chose the incorrect answer (I want you to think about how you actually think), and then 2.) describe why the correct answer is correct.
If you submit incomplete corrections, including incomplete sentences [:chicken scratch"], you will not earn the points back. Therefore, please make certain that you actually complete corrections using the format above.
Afterwards, we will take notes on Metric Conversions! The first half will be taken today, the second half will be completed tomorrow. I will come around to grade your notes at the end of the class and input the grades immediately. Notes for the first half are below.
Today in class, we will complete the end of the metric conversion notes, then you will have guided practice on volume displacement and temperature conversions (between Celsius, Fahrenheit, and Kelvins.) You have two pages of work that will be graded, one for volume displacement and one for temperature conversion. These will help you prepare for your Metric Lab on Wednesday.
Today we will discuss the formula used to determine density. Afterwards, you will find the mass and volume displacement for 4 unknown metals. Using this information, you will determine the volume of each and, subsequently, it's identity.
Each student will be assigned a computer to test on. Please ensure that you do not pluck out the keys or damage the computer in any way, as you are responsible for returning it in optimum condition. You will have one and one half hours to complete the test. Please work diligently and do your best, as this will help gauge the areas that we need to focus upon.
As with all tests in my classroom, you are not permitted to talk at all until EVERYONE has completed the test. Each student is so important and all deserve to complete their test in silence. If you begin talking or making noise, you will earn a zero = 0% =in the gradebook. THIS STANDS FOR ALL QUZZES & TESTS GIVEN. Additionally, I will notify your parent of the grade reduction afterwards. Therefore, it is best to behave appropriately throughout this test.


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Is Is is Yeah Yeah Yeahs' third EP released on July 24, 2007. Songs for the EP were written in 2004 in between touring behind the band's first record Fever to Tell. The song "Down Boy" was No. 61 on Rolling Stones list of the 100 Best Songs of 2007.

The EP
Written amidst a turbulent and emotionally unstable period in Yeah Yeah Yeahs' history, the angst that colored that time translates into a sexually charged body of songs. On their choice of producer, Karen O stated, "Nick Launay was the natural choice having produced PiL Flowers of Romance, collectively a favorite between us. I put that record on and want to stuff my mouth with raw hamburger meat."

The EP has been released on CD, double 7" vinyl, USB flash drive and digital download.

"Down Boy" was originally released as a split single with Liars only released in Australia and Japan. The album title is an extraction of the fourth track song Isis, which in turn is an extraction of the Egyptian goddess Isis.

The video
The band made a live film to accompany the EP with co-directors K. K. Barrett and Lance Bangs. Recorded in night vision at Glasslands Gallery in Brooklyn on 7 May, the band played two sets that night to 100 fans each time—the first for a mixed audience and the second for females only. There will be two filmed versions of lead track "Down Boy"—one live, and one to EP audio.

Three of these live videos, and the EP audio version of "Down Boy", have been uploaded to their official YouTube channel.

Track listing

Personnel
 Brian Chase – drums
 Nick Zinner – guitars, synthesizer
 Karen O – vocals

Charts

References

External links

Yeah Yeah Yeahs albums
2007 EPs
Albums produced by Nick Launay
Polydor Records EPs
Interscope Records EPs
Modular Recordings EPs

redpajama_set_name: RedPajamaWikipedia


I've been studying great guitar riffs lately and while it may seem that all the great guitar riffs have already been written, there may a scientific approach you can use to heighten your chances of going down in rock history. Don't worry, this won't be one of those highly-subjective who's the greatest guitarist posts; that's what the YouTube comments section is for… Instead we're going to look at the common denominators of great guitar riffs, and see how we can use them to come up with our own. For reference purposes only I'll be using Radio 2's recent Greatest Guitar Riffs poll, which virtually guarantees us that some thought went into it.
Do I have to be a great guitarist?
In short, no. Great guitar riffs are not necessarily written by great guitarists. If you scan down our list you'll see the likes of Kurt Cobain, Marc Bolan, the guy from the Arctic Monkeys, Jack White, Dave Davies, Francis Rossi and so on in the top 20. There's no doubt they are (were in some cases) fantastic talents but not jaw-droppingly great guitarists, no disrespect intended. This should reassure you that you don't need to be a virtuoso to write a catchy guitar riff; in fact, you'll see very few virtuoso guitarists in the list—the only notable one being Eddie Van Halen.
Great guitar riffs don't have to be complicated, or technically difficult to play; you have to go quite a way down the list to find something really challenging, while in the top 10 the only ones that might cause you problems are Sweet Child O' Mine and Money for Nothing but they're not unreachable for any intermediate player.
Sounds a bit cheesy but what will make your guitar riff great is not its popularity among other guitarists, but how it makes people, who probably don't play guitar, feel and react. You shouldn't feel self-conscious about what other guitarists might think of your riff as they won't be the ones making it popular; this should also make you think twice about dismissing stuff that you think might be too simplistic; if you're still doubting this check out number 37 on the list. While we're on the subject, a top 100 list of guitarists' favorite riffs would of course be completely different and highly subjective.
As the guitar riff is unique to the guitar, it figures that the keys that are easier to play in on guitar will spawn the most great riffs, and this is certainly true if you look down the list. You'll find the key of E minor featuring prominently, with other guitar-friendly keys such as G major, A major/minor and D major/minor also heavily used. I'm not ruling out the use of other keys but there's just something more guitaristic about certain keys.
If you're more comfortable working from scales to create riffs then you'll notice from the list that the minor pentatonic scale is by far the most used set of notes for riff creation. The problem here is to get something new-sounding out of the most over-used scale in history—a good way around this is to add one choice note to the scale to mix it up a little.
Take a look at that top twenty and you'll see some fairly dirty riffery going on, leading me to believe that a great guitar riff appeals to the animal instinct in your audience. If you want some inspiration just listen to ZZ Top for a while.
As rock is a derivative of blues, and most of the great riffs on the list were written in the late 60s and 70s it figures that there's a heavy blues influence so this might be a good place to start if you need some inspiration.
Following on from the idea of certain keys being more favorable for riff writing, these keys can and should be used in combination with their respective open strings such as our number 1 riff, 'Whole Lotta Love'.
Once you've taken a riff as far as you think it can go, get it down on your phone or some other recording device in order to get some 'objective distance' from it. If you've been working on a riff for hours your opinion of it will become somewhat subjective and distorted. To avoid this, record it and forget about it, or better still, play it to someone else you trust to give a subjective opinion on it, especially someone who's not a musician.
This method for riff writing is most often used in heavy rock, Metallica being masters of it. It involves repeating a riff three times then on the +1 you either resolve it or play a variation, as in Enter Sandman and many others.
One thing that inspires me to write riffs is the sound I'm using; there are extremes of this such as U2 where the sound is the riff and someone like Jack White or Chuck Berry who have this very raw, stripped down sound to their riffery.
With this in mind go forth and write the next great guitar riff!


GET FREE SHIPPING AND 10% OFF ON THIS PRODUCT WHEN YOU SIGN UP FOR A SUBSCRIPTION!
When you buy set point now, you'll get a free copy of Dr. Sara's new book (in March when copies become available).
Wonderful! I personally feel good while taking it and know its helping to balance out my metabolism.
I was hoping for the price I would "feel" something but I'm just finishing month 1 and nothing. Disappointed. Besides the cinnamon and inositol it's really just a multivitamin pack with fish oil. Will order a few key vitamins separately and save money.
I am finding your products useful and user friendly. Having one pack of supplements is so much easier than buying multiple bottles. I especially like that I can trust the legitimacy of your products. I am working my way through the Brain Body Diet, and the Set Point supplements are making it easier for me to implement the plan. Thanks Dr. Sara!
I just started a week ago but love the way I feel this far. I feel more energized and able. I set the packet out the night before and it's a reminder for me that I'm taking care of myself and my health matters. There are a lot of tablets in the pack but none of them taste or smell bad at all. Easy. Thank you Dr Gottfried.
After 2 or 3 days, I began having symptoms similar to the beginning of a cold which never progressed or declined, so I surmised that I Might be sensitive to one of the supplements - perhaps the fish oil, I stopped the supplements and consulted customer service who suggested I space them out either through the day or maybe even not everyday. I am systematically taking one at a time to determine if it is indeed one of the supplements.
There is a lot of flu and colds floating around. Could be coincidence you may of just been coming down with a cold. Easiest way is to simply stop clear up your cold symptoms and then start back up.


By University of Bath, [RxPG] A new method of delivering chemotherapy to cancer patients without incurring side effects such as hair loss and vomiting is being developed.
A patent application has been filed on the drug delivery system, and drug companies across the world are expected to express great interest in the new technology. Dr Perera has been working closely with David Coleman and Jennie Solbé from the University's Research Innovation Services department, to develop this technology. Her students, who have made a valuable contribution to the project, include Chin Chi Tai, Christopher Campbell and Ian Lee.


What % of Oakland sales in 2010 were "distressed" (short sales and bank owned)?
What % of Oakland properties listed for sale in 2010 were withdrawn, cancelled or expired (versus sold)?
What was the average sales price of an Oakland house in 2006?
What was the average sales price of an Oakland house in 2010?
The average sales price of a single family home in Oakland in 2006 was $632,000.
The average sales price of a single family home in Oakland in 2010 was $356,000. This represents a decline in value of 44%, or an average of 11% per year.


If you are wondering what to wear to a baby shower that's also a pool party, my answer would be this dress. I swore I wouldn't get on the mullet dress train, but I lied. Turns out the mullet dress really is all baby shower up front and pool party in the back...that's how the saying goes right? Also, you can't beat Target. Where else can you get party dresses, groceries, and shower curtain liners all in one place?


Restorative Justice (RJ) programs are often evaluated in terms of their outcomes, with little attention to the process. Typically we analyze average effects across individuals who experience RJ differently. The present dissertation unpacks these different effects in three separate inquiries utilizing data from the Reintegrative Shaming Experiments (RISE) conducted in Canberra, Australia from 1995 - 2000.
First, we descriptively assess the extent RJ conference facilitators engender perceptions of procedural justice and legitimacy in offenders. We examine the number of conferences delivered (experience), sequential conferences (practice-makes-perfect) and the timing between conferences (skill maintenance). Certain conference facilitators are better than others from the outset. We recommend the identification of RJ facilitators who are good at promoting perceptions of procedural justice and legitimacy. Second, we utilize trajectory analysis and find the impact of RJ varies by offending group, with negative effects observed for Aboriginal offenders. Finally, utilizing multinomial logistic regression, we examine the characteristics associated with non-delivery of RJ. Randomized controlled trials, such as RISE, rely on treatment integrity to best assess the impact of the assigned treatment. From a policy standpoint, the most efficient use of resources would rely on successful conference delivery. We find that the time between random assignment and the first conference attempt is significantly related to successful delivery.
This dissertation takes important steps in understanding the importance of unpacking the impact of RJ and helps inform who should conduct RJ conferences, what groups of individuals to include in future studies, and what impacts non-delivery of RJ conferences.
Woods, Daniel J., "Unpacking the Impact of Restorative Justice in the Rise Experiments: Facilitators, Offenders, and Conference Non-Delivery" (2009). Publicly Accessible Penn Dissertations. 73.


Steve Paxton began his career by studying in various areas, ranging from the techniques of ballet and modern dance to oriental martial arts, which ended up influencing his work over the years. In the early 1970s, evoking the experience of a game, influenced by the practice of gymnastics and Aikido – the Japanese martial art that renders the violence of any attack ineffective – he created the technique known as Contact Improvisation, which continues to be an important aid for all manner of artistic and somatic research taking place worldwide. His profound knowledge of the body, its sensations, its physiology and its relationship with space and with other bodies, similarly expressed in his most recent technique Material for the Spine, leads us to another dimension: that of the ethics of living together.
Having spent many years on tour, improvising alone, in duets or as a group, Paxton has been living in an artistic community in North Vermont since the 1970s. This talk is based on these movements, offering us a rare opportunity to listen to one of the most influential contemporary dancers and choreographers.


Kedarnath is located in the Rudraprayag district of Uttarakhand at an elevation of 3586 meters above the sea level. It is nestled in the lap of imposing Garhwal Himalayan ranges and near the holy river Mandakini. There are around more than 200 shrines situated in this region in which Kedarnath is the most sacred one. Kedarnath is located near to Rishikesh and Dehradun which are located at a distance of 234 km and 250 km from Kedarnath respectively.
Before that heavily destructive flood in 2013 in which thousands of precious lives were lost, devotees had to trek for almost 14 kilometers from Gaurikund to Kedarnath via Rambara. The route was very nicely built with fences, shops, shelters, and public conveniences in between. However, the trek was quite lengthy but the scenic beauty of the landscapes hinders the distance factor. The lush green valleys, snow-clad mountains, dense forests, and waterfalls leave you spellbound. As per the tourists, the old route was very safe and easy to cover.
Why Was the Need to Construct New Route of Kedarnath?
After the destructive flood in 2013, NIM (Nehru Institute of Mountaineering) team members planned to construct a new route to Kedarnath as Rambara was completely washed away in the flood so the newly constructed bridge is the only landmark to Rambara. Various team members were indulged to plan the best suitable route to Kedarnath. Now, the new route to Kedarnath is constructed from Rambara and Linchauli. The route commences from Gaurikund and ends at Kedarnath which covers a distance of almost 15-16 km. Kedarnath is reachable via Linchauli as Rambara was completely washed away in 2013.
How Did the Idea of a New Route Come?
In this way, the idea to construct a new route came to NIM.
Prime Minister Narendra Modi intends to make Kedarnath Temple much stronger and resplendent. He has planned to construct a new route named "Aastha Path" which is around 5 meters wide and 400 meters in length. The construction of this Astha Path starts on the top of the security wall built at the river bank of Mandakini. The overall cost of this construction is around 50crore. Around 40 meters of the path is constructed which will be used by devotees to enter the temple. This new arrangement planned by Narendra Modi is definitely going to help us out in negotiating the problems of tourists visiting Kedarnath.
Summer is the ideal time to visit Kedarnath as the weather is quite favorable and pleasing in summer. The temperature ranges from 15 degree Celsius to 30 degree Celsius. The cool salubrious breeze and little warmth make it a perfect time to visit Kedarnath. However, the place doesn't experience much rainfall but whenever it rains heavily there is a chance of a destructive landslide. The roads get blocked due to landslides and you may not complete your trip.
Winter is not a good option to plan your Kedarnath as the temple is closed and due to the freezing temperature and heavy snowfall. But if you are in Kedarnath for experiencing snowfall then winter can be your best option.
Proper planning can make your journey smoother and more enjoyable.
Day time in Kedarnath is quite pleasing but at night the temperature falls down so to keep yourself warm carry heavy woolen with you.
As you need to trek for almost 15-16 km so a pair of comfortable shoes is definitely going to help you walk on such steep terrains.
Due to its high altitude location, it is difficult to stay connected with your family and friends. So carry a well-networked phone with you as most of the networks don't work there. Companies like BSNL, MTNL work at such altitudes.


text:
Ten Years of Impact & Innovation
See the exhibit
As we reach our 10th anniversary, the Ohio University's Voinovich School has blossomed into one of the most highly regarded schools in the country that addresses rural and state issues of national importance. The School's faculty, staff and students work together to provide transformative impact in the Appalachian region and throughout Ohio on a broad range of public and social engagement policy areas, including health and wellness, education and the environment, as well as entrepreneurship and economic development.
"The Voinovich School is a treasure. It is a best-in-class example of engaged scholarship – taking knowledge from research in multiple disciplines and applying it to address the most pressing challenges facing communities in Ohio. Better than any public affairs program in the country, the Voinovich School works across all sectors – government, corporate, and nonprofit – and involves students with faculty in making a real, practical difference in the world."
Mike Smith, Dean, School of Government at the University of North Carolina
We are ranked as the 39th Most Innovative Public Service School in the nation and among U.S. News and World Report's top 100 public affairs graduate schools. No other public affairs school in the United States combines business technology commercialization with public service, environmental programs and education.
21st century university institutions distinguish themselves by responding to the challenges of their regions, providing access to a diverse range of students and by taking a cross-discipline, entrepreneurial approach to education. We are poised for a new era of service to the region, state and nation, especially in rural America.
Selected works from our 8 photojournalism fellows
Learn about the
Photojournalism fellowship


text:
Coronavirus Strain a Potential Factor in Montrose Woman's Death
Jack Taylor Published: February 27, 2020
A Montrose woman who had gone into the hospital in early January due to flu-like symptoms apparently died, in part, because of a potential strain of coronavirus.
Lola Short, who died January 8 traveled to Las Vegas, as well as Arizona, started feeling the effects of what they thought was the flu.
According to her sister, Almeta Stone, Lola did not improve and was sent to St. Joseph's Hospital in Denver. There it was determined Lola needed what is known as ECMO (extracorporeal membrane oxygenation), meant to help her heart and lungs was the first cause of death on Lola's death certificate.
There is no evidence, however, that proves the strain of the virus she had is the same one, COVID-19, that came from China.
According to Amanda Mayle, spokesperson for Mesa County Health:
There are no confirmed cases of novel-coronavirus in Mesa County, or in the state of Colorado, Common coronavirus is just that, common, and it has symptoms similar to the common cold. This is something that we know a lot of people are worried about, but the risk to people here in the US is still low.
Along with the ECMO, the death certificate lists influenza, sepsis, pneumonia, and coronavirus as the causes of death.
Filed Under: CDC, Colorado, Coronavirus (COVID-19) Coverage, COVID-19, Mesa County Health, montrose
Categories: Colorado News, Health, Western Slope News
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Olympics Quarantine Food So 'Inedible' Athletes Are 'Crying Every Day'
Important School News: The 'Test to Stay' Program Kicks off in Colorado
See How 12 Western Colorado Counties Stand With Omicron In Last Seven Days
Sick? In Colorado You Might Qualify for Paid Time Off
First Omicron Variant Case Confirmed in Colorado
Colorado Is the 10th Least-Safe State For COVID, But Is It Getting Better?


A picture I took while at dinner with the family.
It is very grainy because I took it with an ISO of 6400. Shot using my 50mm 1.8 lens. The lighting at Little Mexico is very dark and then everything is painted orange-ish. I then used a preset from Lightroom to convert it to black and white.