Are you looking for a Chiropractor in Fort Myers, FL?
Suffer from pain? Need to find relief from stress, injury, and lethargy? If so, there is only one proven solution for you – the skilled chiropractic services from your trusted Fort Myers Chiropractors, Neck Pain Back Pain & Headache Relief Center of Ft Myers!
Neck Pain Back Pain & Headache Relief Center of Ft Myers has proudly served as the go-to chiropractor in Fort Myers, Florida. Today, the clinic continues to offer the same sterling standard of customer service, chiropractic experienced, and commitment to health and wellness to all of its patients, no matter their age. Neck Pain Back Pain & Headache Relief Center of Ft Myers is skilled in delivering precise health adjustments through a variety of treatment plans with one goal in mind: supporting your body's natural ability to heal itself and relieve pain.
We will recommend a care plan that is specific to each individual. We provide the needed time and attention to each of our patients. Neck Pain Back Pain & Headache Relief Center of Ft Myers values the importance of educating its patients about chiropractic care to support the healing process.
Our goal is to help you achieve your wellness needs, improve your quality of life, and facilitate healing through our services. We proudly serve the community of Fort Myers by offering comprehensive chiropractic care and rehabilitation treatment in a compassionate and friendly environment.
Comprehensive Chiropractic Care in Fort Myers, FL?
It is our hope that you have a better understanding of why a healthy nervous system is key to health and relaxation. At Neck Pain Back Pain & Headache Relief Center of Ft Myers we can give you the individual pieces to your health. We are skilled finding the key to your nervous system stress and relieving that tension with skilled treatment. We also treat lower back pain, neck pain, shoulder pain, sciatica, pinched nerves, migraines and headaches, bulging discs, herniated discs, ruptured discs, allergies and many other pain causing symptoms. At Neck Pain Back Pain & Headache Relief Center of Ft Myers we also treat sport's injuries and car accidents.
Why choose Neck Pain Back Pain & Headache Relief Center of Ft Myers?
Each person is an individual with unique needs. To a skilled chiropractor, your body is a visual and kinesthetic scrapbook offering a roadmap to the trained eye. Our individual care lets us plan the most effective treatment to relieve discomfort and let you walk away feeling stronger and more relaxed. We do this by a comprehensive consultation and examination. At Neck Pain Back Pain & Headache Relief Center of Ft Myers we value your health as much as you do! Our patient testimonials give you the confidence to let us treat you and give you the results, thousands of other patients have received. We are here to serve your needs.


text:
Swedes swarm to join the home guard
The Eslöv home guard marching band. File photo. Hemvärnets Musikkår Eslöv/Flickr
The Swedish home guard (hemvärnet) has received twice as many applications as normal since Russia took actions in Crimea, a newspaper noted on Thursday.
The Dagens Nyheter (DN) newspaper looked at how many Swedes had applied to join the home guard after Russia became involved in the Ukrainian crisis. It found that 122 Swedes had registered their interest online, almost double the 66 people who got in touch over the same time span in the past six months.
While home guard spokespersons did not want to tie the upswing directly to Crimea, they said a connection to world affairs was likely.
"I am convinced that the situation in the world is significant to the individual's interest in showing that 'I'm with you, I'm ready, I'm ready to help'," home guard national head Roland Ekenberg told DN.
The most significant hike in interest was found on the Baltic island of Gotland. More than 450 Gotlänningar (the Swedish name for the islanders) belong to the home guard, of whom 250 carry weapons. One of their prime tasks is to guard the F17 Gotland air base when it plays host to the Jas Gripen aircraft during heightened incident preparedness.
The Swedish air force sent several fighter jets to the island last week, in routine response to a large-scale Russian naval training exercise off the coast of Kaliningrad.
"It's really easy to get people to help," the island's home guard chief Anders Eckerberg told DN.
How Sweden's new military strategy affects life in the Gothenburg archipelago
Sweden to ramp up military spending by 40 percent
How a Swedish military man forged his CV and landed a job at Nato's HQ
Why are there 200 soldiers walking around in central Stockholm?
Sweden boosts Gotland air missile defence: 'Quick solution'
Soldier dies during military exercise in northern Sweden
Twice as many people to undergo military service tests in Sweden this year
Brit and Belgian arrested for breaking into Swedish naval base
Swedish PM insists on right to set alliances in defiance of Russia
ANALYSIS: Is Russia pushing Sweden towards Nato membership?
Swedish foreign minister in US to discuss Ukraine and Russia

redpajama_set_name: RedPajamaCommonCrawl


HECHT manufactures bulk material handling and containment machines for the pharmaceutical industry.
The company's modular systems fulfil tasks throughout drug production, including pneumatic and mechanical conveying, dosing, sampling and continuous manufacturing (CMT).
Designed to be efficient, flexible and safe, the HECHT systems can be customised to meet client requirements.
HECHT's product handling solutions are developed in close collaboration with the pharmaceutical industry. Its solutions range from single-use isolators for contamination-free dosing, sampling and weighing, to continuous liners for filling storage containers.
The company's machinery safely fills, discharges, doses and conveys materials ranging up to occupational exposure band (OEB) level five. This is suitable for pharmaceutical processing, where substances can be valuable in high concentrations but may endanger operator health.
The products meet US Food and Drug Administration (FDA) guidelines and are compatible with clean-in-place (CIP), wash-in-place (WIP) and dry-in-place (DIP) methods.
HECHT designs filling stations to discharge and store pharmaceutical solids in flexible intermediate bulk containers (FIBC) such as super sacks, bags, drums, containers and cartons. These solutions meet the containment and hygienic storage requirements of medical clients.
The company encapsulates hazardous substances to increase operator safety. Its primary containment systems feature liners, gloveboxes and butterfly valves to prevent the movement of dust and powders into the working environment. The company's secondary containment products include cleanrooms, locks and pressure stages, which provide additional protection.
HECHT's systems have been designed to the Standardised Measurement of Particulate Airborne Concentration (SMEPAC).
HECHT provides accurate dosing and weighing machines for bulk material handling. The compact system is optimised for product protection, simple-to-handle and discharges without leaving any residue.
The company's vibrating dosing valve offers smooth discharge of bulk solids. A smooth flow rate is ensured as the vibrations allow the powders to flow freely without sticking or clumping. The machine has a high-performance output and simple regulation for consistent product flow.
HECHT's engineers design and optimise plant engineering projects, from initial phase to final assembly and commissioning.
The company's state-of-the-art solutions are custom-built, comprising coordination and dispatch of spare parts, as well as on-site support. HECHT delivers ready-to-use comprehensive systems that are cost-effective and high-value.
In the case of loss-in-weight systems, the operator takes the drum via the roller conveyor directly underneath the glove box. The drum is positioned by means of the lifting device.


Whether you need help preparing your financial statements and tax returns or just basic bookkeeping and business support, GC Accounting Ltd is here to help you. We always strive to provide a personal service and are extremely passionate about freeing up businesses to focus on what they do best.
Gail is the director and sole owner of GC Accounting.
Licensed and regulated AAT Member in Practice.
Gail is the director and sole owner of GC Accounting. She prides herself on providing a personal and professional service to local small businesses and individuals. Gail is a fully Licensed and regulated AAT Member in Practice.
Pete joined the business part time as a consultant in 2017.
2017. Pete brings with him a wealth of knowledge and accounting experience.
Pete joined the business part time as a consultant in 2017. His clients smoothly integrated into the GC Accounting Ltd portfolio when he decided to semi retire at the begining of the year. Pete brings with him a wealth of knowledge and accounting experience.
Kellie looks after the website, social media and all marketing materials and promotions within the company as well as looking after various bookkeeping clients, payroll and administration tasks.
Abby is currently undergoing her AAT qualifiction at college.
She assists us with payroll, administration and preparation of sole trader accounts.


text:
Pakistan: Disaffected Taliban to join ISIS
Russia: US military aid to Ukraine has created a black market for arms in Europe
Organization of Islamic Cooperation: Banning women from work and education is contrary to the goals of Sharia and the consensus of the nation
member of Hamas: defeat Palestinians in the 48 territories is just an illusion
Revealing the role of the Saudi Intelligence Organization in the assassination of Yemeni officials
Afghanistan is at the top of the countries of refugee children
Deputy UNAMA: Afghanistan is entering a new phase of crisis
Imran Khan: Foreign Minister of Pakistan knows nothing about Afghanistan
Longest-serving Palestinian prisoner released from the Zionist regime prison
Hekmatyar: The government should provide education for girls
Afghanistan, Politics, Security سه‌شنبه, 6 جولای , 2021
China: The United States is responsible for the current situation of the Afghan people
Ariana News Agency: The Chinese Foreign Minister said that the Americans should be held accountable today for the many problems of the Afghan people and their political and social situation.
According to Newsweek, Chinese Foreign Minister Wang Yi said that the United States has created many problems for the people of Afghanistan and in the two decades of its presence in this country, these problems have become worse day by day and today it is time to respond.
"The Americans were no longer able to continue their military presence in Afghanistan," the Chinese foreign minister said, calling the Americans' claim of a "safe and orderly withdrawal" from Afghanistan ridiculous. That is why they decided to leave the country in the shortest possible time and without result.
Referring to Washington's misguided policies in the Middle East, Wang Yi added: "The presence of US in Afghanistan for nearly 20 years has achieved nothing but caused trouble for the people of this country and added to their problems."
"The Americans could no longer afford to pay for their campaigns," he said. That is why they are leaving Afghanistan empty-handed.
Referring to the US approach to Beijing, the Chinese Foreign Minister said: "Instead of expanding relations and pursuing a policy of dialogue with their rivals, the Americans are constantly thinking of starting a Cold War with them."
Referring to the situation in Afghanistan, Wang Yi also stated that the Americans should consider themselves responsible for the current situation in Afghanistan and before leaving the country completely, they should ensure the political transition and the establishment of peace and stability in this country.
He emphasized that the decision was not a signal of a formal antitrust inquiry into Afghanistan. Washington needs to know that the withdrawal of its forces should not lead to further instability in the region and on Afghan soil.
Wang Yi continued: "China, as a neighbor and friend of Afghanistan, is ready to make every effort for peacful transfer of power in this country." Beijing supports any peace agreement between the parties.
Taliban: The United States has not committed itself to the provisions of the Doha Agreement
Russia: The United States is escalating the humanitarian crisis in Afghanistan
China: The United States is openly looting Afghanistan's wealth
Imran Khan: After bin Laden was killed, the United States had to leave Afghanistan
The United States occupied Afghanistan under the pretext of fighting terrorism
The United States is still not releasing funds to Afghanistan
Last Stories
Video / Development of a 20-year contract for the division of hunting lands between the UAE and Afghanistan
Animation / Taliban: Everyone should become a doctor!
Animation / Ethnocentrism in the Taliban government
Video / The biggest scam of the West in the reconstruction of Afghanistan
ArianaNews
Copyright© ArianaNewsAgency, all rights reserved


When I'm writing journal prompts and designing journal pages, I often think in terms of balance -- the good and the bad, the ups and the downs, the successes and the challenges. They are the realities of life and I think it's important to explore them all.
Then, after a whole lot of exploration, I sometimes need a bit of a nudge back to the positive. With that in mind and on a whim (which is mostly how I operate around here), I cooked up a mini-journal devoted entirely to the good stuff, and I made a copy for you, too.
I warn you, there is some assembly required, so I've also prepared my first ever tutorial to help you assemble your very own Good Stuff! mini-journal.
Before we begin, I've included two photos to show you what your mini-journal will look like when it's completely assembled. You can see that it is indeed mini, measuring less than 3 inches wide and just over 2-1/2 inches tall.
Each prompt is one-off. You'll probably be able to finish the whole thing in one sitting. Then you can put it away somewhere and take it out again when you need to be reminded of all of the good things in your world.
This journal's folded book format is adapted from Esther K. Smith's awesome book, How to Make Books: Fold, Cut & Stitch Your Way to a One-of-a Kind Book. It's the very first book in her first chapter called Instant Books. In a moment you'll see why.
The first thing you'll need to do is assemble your production materials. You can download the mini-journal template page here. It's a two-page pdf file with a colourful version and a colour-free version, as always. You'll also need a cutting tool of some sort. I used a craft blade and ruler, but scissors will also do the trick.
Begin by cutting along the long dotted grey line to separate your journal from the title info. Then, fold the remaining part of the page in half, lengthwise.
Fold it in half again, this time at its width.
Next, fold up the two ends to meet at the middle. When you're done, you'll have a page with large accordion folds.
Pinch the two ends together along your original lengthwise fold line.
Push the two ends together.
The last step is to make one final fold, folding the prompt "One thing I'm totally looking forward to:" backwards so that it ends up being the back cover of your mini-journal.
Et voila! A complete journal, ready for your pen, pencil or markers!
One final word before you begin. Do not be discouraged if, upon completion, your mini-journal is not perfect. All of the folding involved means that edges might not be exactly straight and corners might not be just right. After I finished my journal, I spent a few minutes massaging the folds, pressing the page edges and corners with my fingers, and I'm really happy with the end result.
So there you go. A nearly instant mini-journal devoted to the good stuff in your world. I hope you love it! Let me know if any of the instructions are difficult to understand and I'll make any necessary changes to the tutorial. Also, let me know what you think of this new journal because I think I can see myself making a bunch more!
Its so perfect going to print out four and we're going to do it after dinner, and then put them in our gratitude jar. Thank you again for another amazing prompt!
Thank you so much! This is such a sweet little journal...can't wait to print and complete it!
This is so cute! I printed them out for my daughter and I. I found the instructions easy to follow and I can't wait to do this! Thank you!
Thanks, Mary! I hope you and your daughter have lots of fun putting your mini-journals together!
Christie, how adorable! This will be perfect for my daughter's book club activity this month. I will print one out for me too!
I love it and how its only one page. cool.
How did you get your blog to look like it was written in marker on the links on the side of the page.
Hi Anndrea! I drew the artwork for the links on the side of the page by hand in Adobe Illustrator using a pen tablet. In Illustrator, you can draw with a pen tablet and mimic the look of just about any writing tool. I used the pencil tool to draw the letter outlines in black, then filled in the colour after. I saved the artwork for each link as an individual image file and uploaded each file to the Blogger template, then added the links.


text:
Dancers Palladium Project Info Resources Juliet's Bio Contact Us
A. Harry Fine
Born in Brooklyn into a family of Russian Jews, Aaron Harry Fine was a beloved Palladium photographer and skilled amateur dancer. Assisted by his wife Rose, Fine ran a photography concession at the Palladium, selling photographs he took of the celebrities and dancers who crowded into the dance hall. Fine set up a makeshift darkroom in the basement storeroom of the Palladium, where he would disappear nightly to develop the film, and enlarge and print the images. He would bring the fresh prints up from the basement to sell later the same night. Fine was also an avid social dancer, often seen on the dance floor with his wife Rose, showing off their innovations in the latest Latin dances. Fine's dancing skill enhanced the excitement of his photography. His action shots were often a collaboration between the dancing of his subjects and himself. Fine was, for example, renowned for snapping pictures as he slid across the dance floor on his knees, camera in hand. The flare with which he manipulated the bulky camera equipment into a photographic dance meant that Harry Fine's performance of taking photographs was as artful as the dancing he captured.
By day, Harry Fine worked selling cameras at various shops in mid-town Manhattan, including Buy Wise on 45th St. between 6th Ave. and Broadway, which he managed from 1958–1960. In order to make ends meet, Fine worked as a photographer on evenings and weekends, hustling for business at Roseland, private weddings, Bat/Bar Mitzvahs, and, most frequently, at the Palladium. According to one of his sons, Harry Fine was quite poor. The family lived in a small apartment in a housing project in Woodside, Queens, where he kept a darkroom in his bedroom. A family of five had to vie for space with the developing and printing equipment, enlargers, chemicals, and dryers that were strewn all over the bedroom and kitchen. Harry was most active at the Palladium during the early to mid 1950s.
© Juliet McMains 2013
This information was relayed to me during a telephone conversation with Stephen Fine, son of Harry Fine.
Header photos: Mambo Aces (Aníbal Vázquez and Mike Vázquez) and Jackie Danois Website Design: Wren McMains, Additional Credits


text:
package org.apache.camel.component.cm;

import org.apache.camel.Consumer;
import org.apache.camel.ExchangePattern;
import org.apache.camel.Processor;
import org.apache.camel.Producer;
import org.apache.camel.RuntimeCamelException;
import org.apache.camel.api.management.ManagedAttribute;
import org.apache.camel.api.management.ManagedOperation;
import org.apache.camel.api.management.ManagedResource;
import org.apache.camel.impl.DefaultEndpoint;
import org.apache.camel.spi.Metadata;
import org.apache.camel.spi.UriPath;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;

@ManagedResource(description = "CM SMS Endpoint")
// @UriEndpoint(scheme = "cm", title = "CM DIRECT SMS", syntax = "cm:host",
// label = "sms provider", producerOnly = true)
public class CMEndpoint extends DefaultEndpoint {

    private static final Logger LOG = LoggerFactory.getLogger(CMEndpoint.class);

    @UriPath
    @Metadata(description = "SMS Provider HOST with scheme", required = "true")
    private String host;

    /**
     * data needed for exchange interaction
     */
    private CMConfiguration configuration;

    private CMProducer producer;

    /**
     * Constructs a partially-initialized CMEndpoint instance. Useful when creating endpoints manually (e.g., as beans in Spring).
     */
    // We are just going to allow fully initialized endpoint instances
    // public CMEndpoint() {
    // }

    /**
     * Constructs a fully-initialized CMEndpoint instance. This is the preferred method of constructing an object from Java code (as opposed to Spring beans, etc.).
     *
     * @param endpointUri the full URI used to create this endpoint
     * @param component the component that created this endpoint
     */
    public CMEndpoint(final String uri, final CMComponent component) {
        super(uri, component);
        setExchangePattern(ExchangePattern.InOut);
        LOG.info("CM Endpoint created - (IN/OUT)");
    }

    /**
     * Provides a channel on which clients can send Messages to a CM Endpoint
     */
    @Override
    public Producer createProducer() throws Exception {
        final CMConfiguration config = getConfiguration();

        // This is the camel exchange processor. Allows to send messages to CM
        // API.
        // TODO: Should i provide a CMSender factory? Dynamically choose
        // CMSender implementation? Sending strategy?
        // Consider:
        // 1. single - Single Message strategy.
        // 2. Multi - CM Api supports to 1000 messages per call.
        // 3. sliding - sliding window? 1000 messages or time thresold?
        // 4. mocked - in order to fake cm responses

        // CMConstants.DEFAULT_SCHEME + host is a valid URL. It was previously
        // checked
        LOG.debug("Creating CM Producer");
        producer = new CMProducer(this, new CMSenderOneMessageImpl(getCMUrl(), config.getProductToken()));
        LOG.debug("CM Producer: OK!");
        return producer;
    }

    @Override
    public Consumer createConsumer(final Processor processor) throws Exception {

        throw new RuntimeCamelException("So far, cannot consume from CM Endpoint: " + getEndpointUri());
    }

    public CMConfiguration getConfiguration() {
        return configuration;
    }

    public void setConfiguration(final CMConfiguration configuration) {
        this.configuration = configuration;
    }

    @Override
    public boolean isSingleton() {
        return true;
    }

    // @Override
    // public Exchange createExchange() {
    // return super.createExchange();
    // }

    @ManagedAttribute
    public String getHost() {
        return host;
    }

    public String getCMUrl() {
        return CMConstants.DEFAULT_SCHEME + host;
    }

    @ManagedOperation(description = "Dynamically modify Service HOST")
    public void setHost(final String host) {
        this.host = host;
    }

    @Override
    public CMComponent getComponent() {
        return (CMComponent) super.getComponent();
    }

    public CMProducer getProducer() {
        return producer;
    }
}

redpajama_set_name: RedPajamaGithub


text:
NEIL YOUNG RELEASES 1973 ARCHIVAL LIVE SET TODAY
by admin | Jun 7, 2019 | Music News
Out today (June 7th) is Neil Young's latest archival release, titled TUSCALOOSA. The album, which was recorded with the Stray Gators on February 5th, 1973 during the Time Fades Away tour at University of Alabama in Tuscaloosa, has been issued as a single CD, and a three-sided vinyl album with etched artwork on side four.
Back in January, Young chatted with Rolling Stone about the new set, explaining, "It's (a concert) from the period right around Harvest and Tonight's The Night. For me, it's edgy. It's like those mellow songs with an edge. It's really trippy to be down in Tuscaloosa, Alabama, and singing those songs from Harvest and the songs that we were doing for Time Fades Away before it came out. I found this thing and it had such a great attitude to it. I just loved the whole night."
Longtime friend and fan Jimmy Page feels that regardless of the genre he's recording or performing in, with Neil Young's voice, guitar work, and songs, he presents a perfect musical package: "We've all loved Neil Young, probably since the very first time accessing him in the Buffalo Springfield. I do love people that you know who they are straight away -- especially with guitar players, as well. You can recognize their guitar playing. To be able to recognize a guitar player -- which you do with Neil. I mean, you just know Neil Young's guitar style, and then you know his vocal, and his songs are profound. Y'know, and he's got such a fine, fine body of work that you can do nothing more than just. . . I told it to his face, he's the artist's artist."
Neil Young will next perform on June 23rd in Pasadena, California at Arroyo Seco Weekend at Brookside Golf Course.
AUDIO: JIMMY PAGE ON NEIL YOUNG


text:
Most Jurija V. (francosko Pont George V) je most čez reko Loaro v Orléansu, departma Loiret, Francija.

Povezuje Rue Royale v središču mesta na desnem bregu z Avenue Dauphine v novejšem okrožju Saint-Jean-le-Blanc na južnem bregu Loare in ostaja eden najpomembnejših prehodov čez Loaro v Orléansu. Med gradnjo se je imenoval Pont d'Orléans, nato Pont Royal in kasneje Pont National. Ob začetku prve svetovne vojne je dobil ime po takratnem britanskem kralju Juriju V.

Most in njegova dva paviljona na levem bregu so bili z odredbo Ministrstva za ljudsko prosveto in upodabljajočo umetnost dne 7. januarja 1926 vključeni v dodatni popis zgodovinskih spomenikov.

Most je znotraj območja doline Loare, ki je uvrščena na Unescov seznam svetovne dediščine.

Opis
Most Jurija V. je 324,88 m (339 metrov, vključno z debelino opornikov) dolg in 15,20 m širok (vozišče 8,90 m; pločniki po 2,66 m; debelina parapetov po 0,50 m) ločni most z devetimi ovalnimi loki, katerih razponi se le malo razlikujejo (dolgi polmer je približno 28 m, najmanjši pa po 29,88 m). Srednji lok ima največji razpon 32,48 m, loki na stebrih imajo skoraj 30 m svetle odprtine. Strani so obložene z naravnim kamnom, zaradi česar se skoraj ne razlikujejo od originalnih lokov. Stebri so bili zgrajeni po tedaj veljavnem »Pravilu petin«, po katerem naj bi bila debelina stebrov ena petina odprtine loka mostu. Cestišče ima le komaj opazen naklon (manj kot en centimeter na meter). Vozišče je razdeljeno na dva prometna pasova, dva pasova za tramvaj in pločnik ter ima masivne kamnite parapete. Ob razgradnji maja 2020 so zahodni pas mostu začasno preoblikovali v dvosmerno kolesarsko pot, dokončna ureditev je bila izvedena konec leta 2021. Na južnem koncu sta dva velika paviljona, ki sta bila včasih namenjena pobiranju cestnine. Pri oporniku na desnem bregu, gorvodno, je vodomer, ki prikazuje zgodovinske poplavne dogodke, pri čemer so bili najvišji vodostaji zabeleženi v letih 1856, 1866 in 1846. Zraven je avtomatski mareograf, ki se uporablja za merjenje nivoja vode in je prikazan na tabli na severnem koncu mostu.

Most je v Franciji registriran kot zgodovinski spomenik (Monument historique).

Zgodovina
Prvotno je bregova povezoval Pont des Tourelles. Ta most, sestavljen iz skupno 21 lokov, je bil približno 80 m višje od sedanjega mostu. Zgrajen med letoma 1120 in 1140, je bila skozi leta večkrat popravljen, okrepljen in ponovno zgrajen. V 18. stoletju se je stanje tega mostu, zlasti zaradi poplav in žledoloma, tako poslabšalo, da je bila nova gradnja neizogibna.

Sčasoma je bilo Jeano Hupeauju naročeno načrtovanje. Gradbena dela so bila sklenjena leta 1751, kot gradbeni vodja pa je bil zaposlen 34-letni inženir Robert Soyer, ki se je s tem ukvarjal naslednjih deset let. Pri gradnji mostu ni bilo posebnih težav, saj so pogoste težave pri odvodnjavanju gradbenih jam, obdanih z lesenimi zagatnimi stenami, vode, ki je nastala pri izkopu, in škode zaradi poplav. Julija 1760 je bil most odprt; Madame de Pompadour je bila prva oseba, ki je uradno prečkala most na poti v svoj dvorec Château de Menars.

V naslednjih treh letih so bila opravljena preostala dela in dela, povezana z mostom, kot so rušenje starega mostu Pont de Tourelle, gradnja nasipnih zidov, dokončanje fasad ulic Rue Royale in Rue Dauphine, ki so bile zgrajene tik ob obstoječem razvoju.

Jean Hupeau je umrl malo pred dokončnim zaključkom vseh del 10. marca 1763. Njegov naslednik Jean-Rodolphe Perronet je šele oktobra 1763 moral opraviti prevzem in poravnati račune za gradbena dela.

Robert Soyer je zapustil podrobne zapiske o svojem delu in številne načrte, ki dajejo dober vpogled v metode dela tistega časa.

Literatura
Grand Livre du Pont Royal, Pont George V à Orléans - Sa Construction, Son Histoire, herausgegeben von der Société des amis des musées d'Orléans, 1993, ISBN 2-84503-221-8

Sklici

Zunanje povezave

 Pont George-V à Orléans dans le Loiret v Musee du Patrimoine de France

Orléans
Mostovi v Franciji
Kamniti mostovi
Ločni mostovi
Zgradbe in objekti, zgrajeni leta 1763

redpajama_set_name: RedPajamaWikipedia


text:
Englewood's Vote to Ban Pot Clubs Latest Challenge to iBake, Thurlow Weed
| Business |
Michael Roberts | June 8, 2016 | 8:21am
Late last month, we noted that Adams County had moved to shut down iBake Denver, a marijuana club that had been operating in the area for more than three years.
The owner of iBake Denver, who goes by the name Thurlow Weed, subsequently told us that he would use his life savings in the fight to save the business.
Now, he's likely got another battle ahead of him.
Weed also runs iBake Englewood — but on Monday, June 6, the Englewood City Council voted to ban pot clubs in the area. And while this decision doesn't necessarily seal iBake Englewood's fate — there's still the possibility it could be grandfathered in — the officials' decision suggests that they'd like to bid farewell to the operation.
Adams County Moves to Shut Down iBake Pot Club Three Years After It Opened
Thurlow Weed Pledges Life Savings to Fight County's Plan to Close Pot Club
Englewood to iBake pot club: Go Ahead and Sue Us, Because We Think We'll Win
One item that could get under their skin: In a new business application on view below, iBake Englewood is described as specializing in "hats, shirts, photographs, cigarettes, pipes, other forms of tobacco (i.e. chewing, e-cigs, etc.)."
Weed used a similar tactic in Adams County.
"One thing we've stressed is that we're not a marijuana club" — at least not technically, he maintained in an interview published on June 1.
"We're kind of like a Costco membership pipe-and-tobacco shop. There are exemptions to Colorado Clean Air Act rules about smoking inside a building, and those include retail tobacco shops, which must have 5 percent of their sales go to tobacco — and that includes snuff, chewing tobacco and cloves."
That's close, as we noted previously. The State of Colorado's list of exemptions to the Clean Air Act includes "Cigar-Tobacco Bar," as long as such businesses meet the following provisions:
• Licensed under Article 47 of Title 12 CRS
• Liquor license primarily for sale of alcohol, food is secondary
• 5% or $50,000 of annual gross income from sale of tobacco, tobacco products and rental of on-site humidors. Not including sales from vending machines.
• Must have met this threshold in calendar year ending December 31, 2005
• If revenue falls below this threshold, cigar-tobacco bar designation will be lost
• Cannot expand or change size and location as of December 31, 2005
Not that iBake Denver was registered with Adams County as a "cigar-tobacco bar."
Indeed, Weed acknowledged that he didn't change its previous zoning designation as a motorcycle-accessory business; he claims an Adams County employee told him that doing so was unnecessary.
There's been no direct acknowledgment that publicity surrounding Adams County's targeting of iBake Denver (and Weed's subsequent comments about his past criminal activity, which he stresses that he's put behind him) inspired Englewood's sudden interest in iBake Englewood, not to mention the subsequent pot-club ban. But it's difficult to imagine that the proximity of these actions is entirely coincidental.
In the meantime, Denver NORML is using Englewood's actions as another example of why it's collecting signatures to put a measure allowing marijuana social clubs on the Denver ballot, as noted in the following 7News report. That's followed by the aforementioned Englewood business application.
IBake Englewood New Business Application


text:
\section{Introduction}

The Lorentz factor plays a fundamental role in relativistic calculations.
It can be derived in several ways \cite{key-01,key-02,key-03,key-04,key-05,key-06,key-07,key-08,key-09,key-10,key-11,key-12,key-13,key-14},
nevertheless, the method of the moving light clock \cite{key-15}
is used in many textbooks and relativity courses. Therefore, it is
important to analyze all aspects of the applicability of this method.

Two frames of reference are considered in this derivation. Frame $S$
is stationary and frame $S'$ moves along the $x$-axis of frame $S$
with uniform velocity $v$. The light clock is arranged vertically
in frame $S'$ (Fig. \ref{fig:Light_clock}a).%
\begin{figure}
\begin{centering}
\includegraphics[width=0.98\columnwidth]{fig1}
\par\end{centering}

\caption{\label{fig:Light_clock}The moving light clock observed in the moving
(a) and stationary (b) frame of reference.}

\end{figure}
 It consists of two mirrors between which the light pulse emitted
in frame $S'$ travels in vacuum back and forth. An observer in frame
$S'$ observes the distance traversed by the light pulse between the
mirrors as $y'$ and the travel time as $t'$. An observer in frame
$S$ (Fig. \ref{fig:Light_clock}b) observes the distance as $d$
and the time as $t$. According to the postulate of invariance of
the speed of light, the light pulse travels in vacuum with velocity
$c$ regardless of the frame of reference. Thus, distance $y'$ can
be expressed as $ct'$ and distance $d$ as $ct$. Since distance
$d$ is greater than $y'$ then $ct>ct'$ and hence $t>t'$. This
means that the time in which the light pulse travels the distance
between the mirrors is longer in frame $S$ than in frame $S'$. By
equating distances $y'$ and $y$ we have $ct'=\sqrt{(ct)^{2}-(vt)^{2}}$
and we can calculate the Lorentz factor $\gamma=1/\sqrt{1-v^{2}/c^{2}}$.

This paper is intended to analyze the moving light clock system in
relation to the orientation of the wavefront of the light pulse observed
in the moving and stationary frames of reference.

\section{Orientation of the wavefront of the light pulse in the moving light
clock system}

The light pulse applied in the moving light clock system travels the
distance between the mirrors without dispersion and remains unchanged
in form. It means that the light of the light pulse is collimated.
Therefore, the light pulse traveling between the mirrors in vacuum
can be characterized by a plane wavefront which is perpendicular to
the wave normal and to the direction of the light pulse propagation.
This characteristic of the light corresponds to a laser beam and hence
the light pulse applied in the light clock is usually described as
a laser pulse. According to the principle of relativity, this characteristics
of the light pulse must be valid in any inertial reference frame.

The light pulse observed in frame $S'$ travels vertically between
the mirrors and its wavefront is parallel to the surface of the mirrors
(Fig. \ref{fig:Light_clock-wavefronts}a).%
\begin{figure}
\begin{centering}
\includegraphics[width=0.64\columnwidth]{fig2}
\par\end{centering}

\caption{\label{fig:Light_clock-wavefronts}The orientation of the wavefront
of the light pulse in the moving light clock system observed in the
moving (a) and stationary (b) frame of reference.}

\end{figure}
 The horizontally oriented wavefront will also be observed horizontally
in frame $S$ (Fig. \ref{fig:Light_clock-wavefronts}b), because the
speed of relative motion of frame $S'$ is zero in the direction $y$.
Hence, coordinates $y'$ and $y$ of any point of the wavefront must
have the same values as observed in both the reference frames. From
the same reason, the horizontal orientation of the mirrors is not
influenced by the motion of frame $S'$. (See Appendix for additional
discussion of the orientation of the wavefront.)

It can be seen that the orientation of the wavefront of the light
pulse observed in frame $S$ is not perpendicular to the direction
of the light pulse propagation (Fig. \ref{fig:Wavefronts-difference}a).
The light pulse therefore does not correspond to the characteristics
of laser light traveling in vacuum. Such a situation, where the wavefront
of the light pulse is perpendicular to the direction of propagation,
occurs for the light pulse emitted in the stationary frame of reference
along path $d$, independently of the moving light clock system (Fig.
\ref{fig:Wavefronts-difference}b).%
\begin{figure}
\begin{centering}
\includegraphics[width=0.65\columnwidth]{fig3}
\par\end{centering}

\caption{\label{fig:Wavefronts-difference}The orientation of the wavefront
of the light pulse emitted in the moving light clock system (a) and
in the stationary frame of reference (b), as observed in the stationary
frame.}

\end{figure}
 In both the cases the orientation of the wavefront is determined
by the orientation of the emitter during emission. The distances traveled
in both cases are the same, but the light pulses cannot be considered
identical because of the different wavefront orientations.

This shows the complex character of the light pulse motion observed
in the moving light clock system in frame $S$. In this case the motion
of the light pulse cannot be treated as an independent motion. It
is a visual summation of two independent motions -- the light pulse
moving in relation to frame $S'$ and frame $S'$ moving in relation
to frame $S$. Therefore, it cannot be said that the light pulse travels
distance $d$ in frame $S$ with velocity $c$, as it is assumed in
the Lorentz factor derivation, because the light pulse observed in
frame $S$ does not correspond to the characteristics of the light
pulse traveling in vacuum. We can only state that the motion of the
light pulse and the motion of frame $S'$ form in frame $S$ an image
of the light pulse characterized by the wavefront oriented not perpendicularly
to the direction of propagation, and moving along path $d$.

\section{Velocity distribution in the moving light clock system}

Since the plane wavefront of the light pulse traveling in vacuum is
perpendicular to the direction of propagation, and the light pulse
propagates in vacuum with velocity $c$, this means that velocity
$c$ is perpendicular to the wavefront of the light pulse. It shows
that the orientation of velocity $c$ is closely related to the orientation
of the wavefront. Because of the principle of relativity, this relation
must be valid in any inertial reference frame.

For the moving light clock system observed in frame $S$, this means
that velocity $c$ is the vertical component of the motion of the
light pulse (Fig. \ref{fig:Velocity_distributions}a).%
\begin{figure}
\begin{centering}
\includegraphics[width=0.77\columnwidth]{fig4}
\par\end{centering}

\caption{\label{fig:Velocity_distributions}The velocity distribution of the
light pulse emitted in the moving light clock system (a) and in the
stationary frame of reference (b), as observed in the stationary frame.}

\end{figure}
 The component velocity $v$ is in this case not related to the motion
of the light pulse. It is a result of the movement of frame $S'$
in relation to frame $S$ only, and any change in velocity of frame
$S'$ will affect it.

This velocity distribution differs from the assumptions of the Lorentz
factor derivation, where velocity $c$ is supposed to occur along
path $d$ (Fig. \ref{fig:Light_clock}b). Such a situation, where
velocity $c$ is oriented along path $d$ and is perpendicular to
the wavefront of the light pulse, occurs for the light pulse emitted
in the stationary frame of reference, independently of the moving
light clock system (Fig. \ref{fig:Velocity_distributions}b). In this
case the component velocity $v$ is related to the motion of the light
pulse only -- no movement of any reference frame in relation to frame
$S$ can influence it.

\section{Discussion}

The analysis of the orientation of the wavefront of the light pulse
in the moving light clock system shows that the horizontally oriented
wavefront observed in frame $S'$ will also be observed horizontally
in frame $S$ (Fig. \ref{fig:Light_clock-wavefronts}). The light
pulse observed in the stationary frame is characterized by the wavefront
oriented not perpendicular to the direction of propagation. This shows
the complex character of the light pulse motion observed in frame
$S$. The motion observed in frame $S$ along path $d$ is a visual
summation of the motions of the light pulse in relation to frame $S'$
and frame $S'$ in relation to frame $S$.

According to the horizontal orientation of the wavefront in frame
$S$ it can be seen, that the velocity distribution with vector $c$
oriented vertically (Fig. \ref{fig:Velocity_distributions}a) should
be applied in the Lorentz factor derivation. In this case we have
$ct'=\sqrt{(v_{d}t)^{2}-(vt)^{2}}$, which leads to $t'=t$. It means
that the travel time of the light pulse is the same in the moving
and stationary frames of reference. The occurrence of velocity $v_{d}$
greater than $c$ does not mean exceeding the speed of light by the
light pulse in this case, because the motion observed in frame $S$
along path $d$ is not an independent motion of the light pulse.

Both the complex character of the observation of the light pulse in
frame $S$ and the velocity distribution resulting from the horizontal
orientation of the wavefront of the light pulse show that the moving
light clock system is unsuitable for the Lorentz factor derivation
and illustration of time dilation. The analysis presented in this
paper suggests that the moving light clock system presents an argument
for the simple emission theory rather than the special relativity
theory, and illustrates the relativity of the observation of light
rather than the relativity of time.

\section{Conclusions}

The plane wavefront of the light pulse in the moving light clock system
is oriented horizontally both in the moving and stationary frames
of reference. The light pulse observed in the stationary frame is
characterized by the wavefront oriented not perpendicular to the direction
of propagation. It shows different characteristics of the light pulse
than that assumed in the Lorentz factor derivation.

The horizontal orientation of the wavefront observed in the stationary
frame of reference allows to determine the velocity distribution of
the light pulse with vertically oriented velocity $c$. Application
of this velocity distribution in the Lorentz factor derivation shows
that the travel time of the light pulse is the same in the moving
and stationary frames of reference.

The analysis of the moving light clock system in relation to the orientation
of the wavefront of the light pulse shows that the moving light clock
system is unsuitable for the Lorentz factor derivation and illustration
of time dilation. The moving light clock system illustrates the relativity
of the observation of light rather than the relativity of time.

redpajama_set_name: RedPajamaArXiv


text:
Q: Completion block syntax when no data passed in Swift This is stupid simple but I cannot get it to work.
I want to stop recording before the phone speaks something.  No data is being passed.
let words = "Hello world"
let utt =  AVSpeechUtterance(string:words)
stopRecordingWithCompletion() {
    voice.speak(utt)
}

func stopRecordinWithCompletion(closure: () -> Void) {
   recognitionRequest?.endAudio()
    recognitionRequest = nil
    recognitionTask?.cancel()
    recognitionTask = nil
    let inputNode = audioEngine.inputNode
    let bus = 0
    inputNode?.removeTap(onBus: bus)
    self.audioEngine.stop()
    closure()
}

What am I doing wrong?

A: Your current approach is not really ideal for this.
To begin with, AVSpeechSynthesizer provides a delegate you can monitor for changes, including when it is about to speak.
speechSynthesizer(_:willSpeakRangeOfSpeechString:utterance:)

Just observe this, and call your stop function. No closure is required since it is a synchronous function call.
In summary:

*

*Conform to AVSpeechSynthesizerDelegate

*Implement speechSynthesizer(_:willSpeakRangeOfSpeechString:utterance:)

*When the function above is called, have it call your stopRecording() function

An example of the delegate setup:
extension YourClassHere: AVSpeechSynthesizerDelegate {
    func speechSynthesizer(_ synthesizer: AVSpeechSynthesizer,
                           willSpeakRangeOfSpeechString characterRange: NSRange,
                           utterance: AVSpeechUtterance) {
        stopRecording()
    }
}

redpajama_set_name: RedPajamaStackExchange


I've been reading Aswath Damodaran's book Strategic Risk Taking: A Framework for Risk Management. It's a great read and I reluctantly had to put it aside while guests where here; I've just picked it up again and am continuing to devour it; I read some of the book and then reflect on how it impacts my business, my clients' businesses, my readers' businesses, and my thoughts of the capital and real estate markets… and then I read some more.
As I've been reading, I keep coming back to the idea that people can get pretty screwed up when it comes to risk. We think we're risk averse, and sometimes we act that way, but other times we make decisions that are explicitly (or implicitly) risk-welcoming.
Buying stocks high instead of low and selling low instead of high: Investors see stock prices really low and decide to wait and see if the price goes up before they buy. This mindset is a problem because investors need to buy low and sell high but all too often, investors (especially amateur investors) wait until the stock is high before they buy (because, in their mind, the high price is confirmation that the stock is worth buying). The same is true of stocks that investors hold: They should sell high but instead they see the prices declining and they want to cut their losses so they sell low. We all KNOW that we are supposed to buy low and sell high but we often do the opposite.
Buying properties: The same thing happens with properties. Homebuyers may feel that prices are too low to buy (perhaps because they are expecting prices to continue to decline?) and they'd rather wait for prices to go up. But rising prices can make some houses unaffordable. It's better to buy when the prices are low.
Timing the market: Similar to above, many investors try to time the market. They know they're supposed to buy low and sell high so when the stock is low they think it might keep going lower so they don't want to buy right now. They wait. The stock goes down. Then the stock goes up. Then the stock goes down. Then the stock goes up. A stock "bottom" shouldn't be thought of as the lowest point but rather it should be thought of as a window in which the stock price is low.
Investing in crazy things: Many investors would say they are risk averse when investing in the capital markets. They buy mutual funds or blue chips because their financial advisor tells them to and they claim to be careful with their investments. But then they hear a "hot tip" from their neighbor about an amazing biotech IPO and their whole risk-aversion flies out the window.
Buying lottery tickets: This one is really fascinating to me. If you were to ask someone to throw away a couple of bucks into the trash everyday, they would think you are crazy. And yet, people spend a lot of money in lottery tickets every week without considering the odds.
Wanting to quit a job but being willing to take the risk: Wow, I see this so often! People who want to quit their job (because they hate it or their salary is capped or they want some freedom) but they can't handle the small risk of an unknown paycheck. The weird part is, there are many things they can do in the interim period as they build a small start-up before they quit their job but they just don't do it. They're content to watch TV in the evenings and go to work during the day and dream… but that's it.
Wanting to grow a business but not wanting to risk anything: I see this one a lot too! Business owners who start a business and want to grow it but aren't willing to invest anything into their business. So you get people who want to market their business but they hire the cheapest non-English-speaking writers to create their marketing and then wonder why their marketing isn't connecting with clients. Or business owners who know they should build a mailing list but don't want to invest in the software to get them there.
Investing in the wrong things: I see this one a lot among real estate investors — they invest tens of thousands of dollars into training over decades but won't take the risk of doing a deal. (One of my clients calls these people "7 year newbies").
In all of these examples, you can see how we approach risk in a puzzling way. We claim to be smart about risks but then we act inconsistently, sometimes choosing the risk-averse way and sometimes choosing the risk-accepting way (and sometimes being too much of one or the other)… and often doing the opposite of what we should be doing.
Is there a solution? I don't think my one measly blog post is going to erase thousands of years of questionable risk judgement. However, whenever faced with a decision that involves risk, we should ask ourselves how we should be acting and compare it to how we really do act and then try to figure out why there is often a difference.


The Champions Tour's 2016 schedule has been announced and there are six Nicklaus Design golf courses that will host the best in senior golf over the season.
The Champions Tour schedule of six tournaments at Nicklaus Design courses comes on the heels of the PGA Tour's 2015–2016 announcement that six PGA Tour events will be held on Nicklaus Design layouts. In 2015, no fewer than 30 Tour events or significant amateur tournaments were held on Nicklaus Design courses. Additional Tour events for 2016 are still to be announced.
The 2016 Champions Tour season gets underway January 18 at the Jack Nicklaus Signature Golf Course at Hualalai Golf Club in Ka'upulehu-Kona, Hawaii, with the Mitsubishi Electric Championship at Hualalai. On Feb. 8, the Champions Tour makes its way to Naples, Fla., for the ACE Group Classic, played at The TwinEagles Club's Talon Course, a layout designed by Jack Nicklaus with Jack Nicklaus II.
The third week in April will see the Bass Pro Shops Legends of Golf at Big Cedar Lodge gets underway at Top of the Rock—the Nicklaus-designed Par-3 course. This is the only Par-3 event on the Champions Tour's schedule, and an event where Jack Nicklaus was victorious last year with his playing partners Gary Player and Lee Trevino.
In May, the Senior PGA Championship presented by KitchenAid makes its way back to the Jack Nicklaus Signature Golf Course at Harbor Shores in Benton Harbor, Mich. This senior major was also hosted at the award-winning layout in 2012 and 2014.
TPC Snoqualmie Ridge in Snoqualmie, Wash., will host August's Boeing Classic—an event it has hosted annually since 2005.
Then, the Charles Schwab Cup Championship gets underway in November to conclude the 2016 season at the Cochise Course at Desert Mountain Club, one of six Nicklaus Signature Courses at the acclaimed community in North Scottsdale, Ariz. Starting in 2016, there will be a new Schwab Cup trophy, as well as a playoff format.
Another event with close ties the personal and professional legacy of Jack Nicklaus—the 2016 U.S. Senior Open Championship at Scioto Country Club in Columbus, Ohio—will have the Golden Bear serve as Honorary Chair. Scioto is where Nicklaus was introduced to the game of golf at age 10 and nurtured his skills under the guidance of long-time instructor Jack Grout.


Front Message: Want to hear lots of compliments on your birthday?
Inside Message: Buy me a couple margaritas and wait half an hour.
See if your birthday friend can get you talking with Maxine's tequila-inspired technique.
I can hardly wait to give this card to my daughter!
Maxine has a different "perspective" on life and says a lot of things that we all think. I think she is priceless!!
I really enjoy reading and sending the Maxine cards. I think most of them are really funny and people enjoy receiving them.


text:
Unit F, 5-7 Workspace Drive, Hobsonville, Hobsonville, Waitakere City, Auckland
New Industrial Investment For Sale
Industrial | Size: 955 m²
This brand new industrial unit is 1 of 6 in a fully committed to development in the popular subdivision 'Workspace' in West Auckland's Hobsonville. The unit is complemented by a new lease to an established business within the construction and engineering sector who were drawn to this development because of its close proximity to SH18 & SH16 and its superior build quality. Due for completion in August, these units have been developed and constructed by renowned Gibson O'Connor who are excited to be relocating their business operations to Unit D in the development.
The unit has a total floor area of 955sqm and will be leased with an initial term of 4 years returning $157,050pa net + GST with another 4 rights of 4 years. The unit comes with 9 assigned car parks, a stud height of approximately 9 meters at the apex, air conditioned offices and two roller doors.
Associate Director | Investment Sales


text:
package edu.upenn.library.xmlaminar.parallel.callback;

/**
 * Implementors allow setting a callback interface to handle output. There should
 * be no assumption that the return of a call to the provided XMLReaderCallback's
 * callback() method indicates the completion of a call to the provided
 * XMLReader's parse() method. If such synchronous handling of output
 * is desired, it is the responsibility of classes implementing the OutputCallback
 * interface to ensure such synchronization.
 *
 * @author magibney
 */
public interface OutputCallback {
    boolean allowOutputCallback();
    XMLReaderCallback getOutputCallback();
    void setOutputCallback(XMLReaderCallback callback);
}


text:
WEHO History
WEHO@WORK
Dear WeHo
City of West Hollywood and LA LGBT Center Press for Investigation of Death at Ed Buck's Apartment
Monday - January 7, 2019 by Former Staff | 1 Comment
The second death of a young African-American man in the apartment of Ed Buck, the white Democratic campaign donor and animal rights activist, has prompted demands for newly elected L.A. County Sheriff Alex Villanueva to investigate the incident.
The City of West Hollywood issued a statement this afternoon saying it "has requested a full investigation by the Los Angeles County Sheriff's Department." The Los Angeles LGBT Center also issued a statement saying it "calls upon Los Angeles County Sheriff Alex Villanueva and his department to fully investigate this tragedy and aggressively seek justice wherever the investigation might lead."
Ed Buck
The Sheriff's Department issued a statement today saying its "Homicide Bureau has responded to the location and Investigators are conducting a thorough investigation, which includes follow up interviews and a secondary review of the July 27, 2017 incident. As with the previous incident, the Los Angeles County District Attorney's Office was intimately involved in reviewing the facts of the case, and will be so in this case as well."
The department has not yet identified the man whose body was removed from Buck's apartment this morning. The coroner's office has not yet issued a statement as to the cause of death.
The July 27, 2017 incident involved the death of Gemmel Moore, a 26-year-old African American escort who was found dead in Ed Buck's Laurel Avenue apartment of what the L.A. County Coroner's Office ruled was a methamphetamine overdose.
The Coroner's Office initially ruled Moore's death an accident. Complaints from Moore's mother, LaTisha Nixon, prompted West Hollywood City Councilmember Lindsey Horvath and Los Angeles City Councilmember Mike Bonin to press then-Sheriff Jim McDonnell and L.A. County District Attorney Jackie Lacey for a deeper investigation.
Ultimately the District Attorney ruled there was insufficient evidence to charge Buck with committing a crime. However, the a coroner's report did note drugs and drug paraphernalia in Buck's apartment when Moore's body was found.
City council members John D'Amico, Lauren Meister and Lindsey Horvath have all reached out to City Manager Paul Arevalo, asking him to request the investigation by the Sheriff's Department. Sephi Shyne, a candidate in the March 5 City Council election, also issued a statement. "I am heartbroken to learn of another death at the home of Ed Buck," she said. "I stand with the families of Gemmel Moore and today's victim and urge Sheriff Villanueva and District Attorney Lacey to immediately open a homicide investigation. I hope our community will come together at this evening's rally to support the victims' families."
A rally will take place at 7 p.m. tonight in front of Buck's apartment building at 1234 Laurel Ave
In its statement, the LGBT Center noted the involvement of drugs in both incidents. "Although the investigation is in its early stages, we urge Sheriff Villanueva to keep the public fully informed as LGBT people have a considerable and urgent interest in a case that is so clearly linked to the health and safety of our community," the statement said. ?The reports we have heard provide more questions than answers. The fact is two black men have died at Mr. Buck's home in less than two years.
"While much is still to be learned, it appears this tragedy is linked to substance use. LGBT people and other marginalized groups are at elevated risk for impacts that result from the current epidemic uses of opioids, methamphetamine, and other dangerous drugs. The Center provides free or low-cost, comprehensive, and judgment-free addiction recovery services and has a service to provide free fentanyl testing strips to those who request them. For help or more information, contact the Center's Addiction Recovery Services at recovery@lalgbtcenter.org or 323-993-7448."
Tags: city of west hollywood, ed buck, Los Angeles LGBT Center, methamphetamine, sheriff alex villanueva
About Former Staff
Opinion: Even in WeHo, Trans People Struggle for Acceptance
Meth and paraphernalia in Ed Buck's apartment can be used as evidence, judge rules
WeHo Renters Speak Out Against Sharing Landlord's Seismic Retrofit Costs
Owner of 8752 Rangely Sues Over $44,250 Fine for Illegal Short-Term Rental
Receive Email Notifications? no, do not subscribeyes, replies to my commentyes, all comments/replies instantlyhourly digestdaily digestweekly digest
Or, you can subscribe without commenting.
Ty Geltmaker, Ph.D. (Historian)
Is it possible to obtain records of any/all contributions Ed Buck has made to past/current West Hollywood politicians?
And, while legal distinctions under penal law are important, what is essentially different under the following two possible scenarios?
1). These men "voluntarily" arrive stoned and drugged at Buck's apartment after having been summoned/lured either in person or on social media.
2). These men arrive and are "provided" with intoxicants by Buck.
Either way, it's death twice in the same place.
© 2023 KF MEDIA - All rights reserved.


text:
A House Without Love is Not a Home
My introduction to Shirley Jackson is memorable in that it marks my first exposure to a particular kind of horror. Not the kind I experienced from watching my first monster picture at age five (Tarantula—and it was love at first sight), but the difficult to articulate kind of horror, the silent dread that feeds your paranoia, and makes you feel that the world is a lonelier place than you ever realized, and much, much colder. My fifth-grade class (seems a bit young for this, but whatever) read The Lottery then watched the film, shown to us on a reel-to-reel projector inside the classroom with the shades down, which is how it was done back in the day. Here's the exact film that traumatized my young mind so. Watching it again now on YouTube it appears quite tame, but I remember how that streak of blood on poor Tessie's face horrified me. I suppose the reason I was sensitive about townspeople piling up rocks to beat to death one of their community members is I had witnessed and fought with children who routinely bullied (and threw at stones for real) my mentally ill brother. Kids can be real shits, and so can their parents, as the real-life horror of the current election process proves. Perhaps another reason the story hit me so hard is that I was raised in a rural community that somewhat resembled the one depicted in the story. Among the comforting scents of apples rotting on the ground and distant manure-laden fields (country folks understand) there was an air of ignorance passing off as tradition that could chill you to the bone. Every community must have its scapegoat (sacrifice), and one just hopes it's not her turn…this year.
Jackson is a master (mistress) of quiet dread, and I picked up The Haunting of Hill House (I'd seen the original movie, but somehow never read the book) anticipating nothing less than subtle chills and great writing. I wasn't disappointed.
As a side note, I am astounded to see many online readers giving this gothic classic one-star reviews and describing it as slow, or (my favorite) complaining that nothing happens. Seriously? If you don't possess the attention span to sustain interest in an astoundingly well-written novel (novella really) of less than two hundred pages, then how in the world do you handle Trollope? (I was going to write something ruder, but I don't wish to be a bully myself). And, if you are a fan of horror, know that King Stephen thinks it's one of the best books of the 20th century. But what does he know?
I am a horror fan (and I love Stephen King), but I like my scares best served subtle and poignant, as in meaningful, not zombie apocalypse cheap (and laughable) thrills. Before I picked up The Haunting of Hill House I had just finished The Scarlet Gospels, and although I love Clive Barker, much, much more happens inside Eleanor's neurotic brain than Pinhead's entire murder spree through Hell, believe me. I find the quiet dread of doubt much more frightening than a demon getting eviscerated to such a degree that his head pokes out his anus (I'm paraphrasing here, but no joke). What I used to love about Barker's writing is that he was somehow able to match the eloquence of a Shirley Jackson with the imagery of Hieronymus Bosch, creating his unique brand of poetic gore. Although there were beautiful Barkeresque passages in The Scarlet Gospel, the book was neither scary nor, sadly, very interesting. I suspect Barker had "help" writing this, and that he is much happier in his basement painting his dark visions. He's an astounding talent, and I will forever remain a loyal fan, breathlessly awaiting his next masterpiece.
But back to Hill House.
Maybe it's a female thing, but I found a particularly disquieting horror in Eleanor's story. She is what is referred to in literature classes as an unreliable narrator. Even though it's written in the third person, it's from one point of view–a very sad and crazy one, but she is the one we are with throughout the journey, and in that way, we can't help but identify with her. Nell is spinsterish and childlike in equal measure, and not exactly a good girl in either personae. She lies, steals a car (although her sister and husband deserve it), and neurotically believes that everything is all about her. Of course, in this story it is. We never get to know what the other characters are really thinking (does Theo also experience the landscape turning into negative during that strange evening stroll around the grounds, or only Nell?). Whatever their opinions of her, at some point they all reject her, and probably discuss (laugh at?) her behind her back, making it worse. Even the house rejects her, and in her desperate, final bid to hang on, her dependent personality pleading of virtual strangers "Why won't they stop me?" she is destroyed.
The menace of the supernatural is that it attacks where modern minds are weakest, where we have abandoned our protective armor of superstition and have no substitute defense.
While reading the story, I kept picturing Julie Harris and Claire Bloom as Eleanor and Theo respectively. When I was done, I watched the film again, and the women's performances stand the test of time. Julie Harris perfectly portrays Nell's dual personality: a spinster with her hair in a bun and scratchy tweed suits, a child with her long hair, and frilly nightgown. Her insecurities rapidly turn to histrionics, a kind of gothic self-immolation stemming from romantic/sexual frustration where she has fainting spells on the stone turrets, and climbs the treacherous library stairs to be rescued damsel-like by a reluctant Luke. This leads to further rejection that she is too much of a risk, unfit for the experiment, and a final pronouncement that she is less than ordinary, nothing special.
Claire Bloom is also perfectly cast as the hip, chic (dig the Mary Quant threads), sexually ambiguous, Theo. The Nell/Theo relationship is the strongest (and most painful) in the book, pouring rubbing alcohol into the paper-cut of female friendships that are commonly marked by quick intimacy and secret sharing turning on a dime into cold-hearted bitchiness and rejection. Throwing those sisterly secrets–you killed your mother–right back in each other's faces. I suspect that it was Theo who wrote the message on the wall, and it could be her red nail polish on her clothes and not blood. To keep her alpha girl status, she steals the boy (even though she's probably gay) and wears Nell's new red sweater just for spite.
Women with mother complexes are particularly vulnerable to the viciousness of female friendships, and in that respect Eleanor hauls into Hill House a motherlode of issues. The death of her mother finally releases her from eleven years of bedpan slavery, but her guilt over not answering her mother's real or imagined nocturnal knocking on the wall (can you blame her?) remains. The invitation to Hill House offers that thing Eleanor longs for: an identity, and maybe even reassurance that she is not only misunderstood, but special. Her introvert's wet dream, however, soon turns to ash when her new BFF and the two men in the house begin treating her with the same disdain as her sister and brother-in-law (their first inquiry at the end is about the car). Eleanor's horror is the dread that comes from changing spouses, jobs or seeking geographic cures only to discover that the problem is not your boss, it's you. The true horror that you can never escape is yourself.
Drama, gothic, horror
book review, Claire Bloom, Clive Barker, fiction, gothic, horror, Julie Harris, Shirley Jackson, The Haunting of Hill House, The Lottery, The Scarlet Gospels
Violets Are Blue by James Patterson
Shadowland by Peter Straub
2 thoughts on "The Haunting of Hill House by Shirley Jackson"
Pingback: The Dreaded Line Edit – Ex Libris Regina
Pingback: Autumn Ghost Stories – Ex Libris Regina


text:
L'édition 2017 du tournoi de tennis de Cabo San Lucas se déroule du  au  sur dur en extérieur. Elle appartient à la catégorie ATP 250. Sam Querrey remporte l'épreuve en simple, Juan Sebastián Cabal et Treat Conrad Huey celle en double.

Faits marquants

Forfaits
On note les forfaits de l'Australien James Duckworth, du Dominicain Víctor Estrella Burgos, du Russe Karen Khachanov et du Slovène Blaž Kavčič. Ils sont respectivement remplacés par Jason Jung, Vincent Millot, Dennis Novikov et Brydan Klein.

Pendant le tournoi
Akira Santillan (), qui jouait pour les couleurs du Japon entre 2015 et 2017, revient jouer pour celles de l'Australie, après avoir déjà fait partie de la fédération océanienne entre 2010 et 2015.

Le jeune espoir français Quentin Halys (), âgé de seulement 20 ans, fait sensation dès son entrée en lice en écartant son premier joueur du top 50, de 18 ans son aîné, le Croate Ivo Karlović, , en 2 sets (7-6, 7-6).

Lauréats
Sam Querrey remporte le  de sa carrière en simple en écartant en finale Thanasi Kokkinakis. Il s'agit de son  de l'année acquis sur le sol mexicain, après Acapulco en février.

En double, Juan Sebastián Cabal et Treat Conrad Huey décrochent leur  ensemble en s'imposant en finale face à Sergio Galdós et Roberto Maytín. Il s'agit de leur  et  titre respectif dans la discipline.

Primes et points

NB : Pour les têtes de série exemptées de , une élimination au  ne rapporte aucun point ATP.

Résultats en simple

Parcours

Tableau

Résultats en double

Parcours

Tableau

Notes et références

Notes

Références

Voir aussi

Articles connexes
 Tournoi de tennis de Cabo San Lucas
 Saison 2017 de l'ATP

Liens externes
  Site officiel du tournoi

Cabo San Lucas
ATP 2017
Sport au Mexique en 2017
Tennis en juillet 2017
Tennis en août 2017


text:
LETTER: Elect Locatell, Napolitano, Garwood for Moorestown Town Council
The Courier-Post
I am the proud mother of a police officer. It's not an easy role! Every day, my son wears the blue, and I am filled with immense pride, and pray not only for his protection but for all men and women in blue. As I said when I started the Blue Ribbon Challenge here in Moorestown, the majority of our brave men and women in blue, like my son, are serving their communities from a place of love, and I believe we should be celebrating their selfless work and showing them that their community stands with them.
That is why in every election, I look closely at the records and platforms of candidates seeking office and support those I believe will best work with and stand with our police. For that reason, I am proud to support Mike Locatell, Victoria Napolitano and Phil Garwood for Moorestown Town Council.
Over the last four years, Mrs. Napolitano and Mr. Garwood have shown the utmost support of our police and their families. They secured grant funding to equip Moorestown police with body cameras, protecting our residents and police officers. They worked with our Police Department to install a Project Medicine Drop that will help fight against the heroin scourge. The budgets they passed have helped replace old police vehicles and equipment, secured bulletproof vests, and upgraded technology to help our police do their jobs safely and more efficiently.
Now, they, along with Mike Locatell, are seeking to be elected to a four-year term, and I am positive they are the right choice. They will move forward with re-establishing a K9 unit within the Moorestown Police Department and have pledged to fully fund the operations of our police. Crime has dropped 38 percent over the last four years, and I trust that progress will continue with these three fine individuals at the helm.
When you vote this year, please join me in supporting Mike Locatell, Victoria Napolitano and Phil Garwood. I believe they are the right choice for those seeking to stand with our police, and I have the highest confidence in their ability. They are caring and honest, and deserve our support on Nov. 8.
Ladies and gentleman, we need Moorestown to continue to be the beacon of light where all residents can live in a safe environment.
Mimi Warburton


Head to Yates Mill County Park for a day of arts and crafts. All ages are welcome to come and create a special valentine for your friends and love bugs.
"Come join us in the park center for some Valentine's Day arts and crafts! Create valentines for your friends, make some love bugs, and take home your own valentine tree. For all ages (adult accompaniment is required for all children); fee: FREE. Registration is not required."


text:
31/07/2016 Gunter Heidegger
Lovely Banalities
GintasK
LITHUANIA MUSIC INFORMATION CENTER LITHUANIA MICL 087 CD (2015)
A return visitor to these pages, Lithuanian sound artist Gintas K's work is marked by molecular level interactions that bear virtually no trace of human involvement, instigated and monitored with a rigour that suggests scientific ambitions. Going by the reviews, his indistinctly-sleeved albums would seem to be theme-and-variation affairs recommendable to those probing enthusiasts of the inscrutable who are possessed of above average mental stamina. But for those of us in search of a rope ladder into his signpost-free sound sphere, this diversified portfolio arrives not a moment too soon.
While titles such as 'POpXEnA 9' and '#72' bear testament to an ongoing process of self-cataloguing, ironic outliers such as 'Lovely Banalities' and 'Grinny Memories' stand in sharp relief to the composer's maniacal pursuit of his certain somethings. They may even prompt listeners to question why this music exists at all or, by extension, why we should regard one set of moving vibrations with greater favour than any other. His 'orchestrations' exist not in opposition to our predilections but completely outside the dimension of listening-for-pleasure. Each of these tracks is an internally consistent communication relay system that exists in relation to itself; not to you or me. In this sense, we are liberated from complicity in the familiar, affective process of listener-as-participant.
However, in truth no two listening events are the same. Even as I return to events such as '5m' I am reminded of Rutherford's experiments firing alpha particles at gold foil and the bemusing scattering that was subsequently detected. Anomalous streaks of what sound like electric organ add unexpected warmth and colour to the picture. Perhaps Autechre might choose to spend their holidays in such conditions, relaxing to the pointillistic patter of raindrops evaporating on a heat shield.
Which is also to say that laboratory conditions are not in effect throughout: 'Love is Love' (to give but one example) is a 7-8 minute dirty wash of distorted tape manipulation that might be heard through the wall of a provocative youth who only removes his gaze from the abyss as an act of self-rebellion. It could be Fennesz's shadow on a midnight creep, but it is more certainly a red herring and a reminder that enjoying this Lithuanian lunatic's sense of humour might require the invention of a new form of radar.
Previous Post:Dance of Death
Next Post:Last Hope


text:
Anime Essays, Rants, Reviews
Sunday's Segment
Attack on Titan Season 3 – It's Better Already
24th July 2018 30th November 2018
I enjoyed Attack on Titan's first season.
In fact, I suspect like many of us, it was one of the first anime shows I watched. Then, last year came along the long-awaited, and long wailed after, Season 2. It wasn't for me. The things I liked in the First seemed to have vanished in the Second. It felt poorly structured, and what left me feeling the most disappointed was the ways in which its characters were presented in apparently random moments of outburst with little holding the often irrelevant scenarios together. Despite this, the art, especially the background art remained stunning, as did some of the animation in the more important action sequences. Still, it never seemed to have the flair of its predecessor.
But here we are: Welcome to Summer 2018, and Attack on Titan Season 3.
Bread is good. Sasha is good.
Attack on Titan – It's Back Again
There was a four-year gap between the first and second season of Attack on Titan; probably an issue relating to the speed at which the manga can be adapted – and now that the manga has more volumes it's easier to bridge the anime gap (or it's possible I'm talking out of my arse because I know nothing of the AoT manga…). Now, we have only a single year gap between the second and third seasons. At first glance I thought: "Maybe it's a shit thing that it only took a year to make, maybe that means it's shit quality… or maybe its a good thing that we get more Attack on Titan so soon!" Of course, I hope for the latter. I want good anime, regardless of what's behind the title. We're in for the long-haul of 24 episodes, twice the number of last year. I just pray it has four times the amount of content.
Deep in sEASON 3, Episode 1
Let's start with the obvious thing, the opening. Attack on Titan has good openings, we know this. It's a foundation of the show, that's always been true – and some are better than others. My favourite being 'Shinzou wo Sasageyo', from Season 2. At least… this was until I watched Season 3's 'Red Swan' which naturally embraced my body just like a young swan might. The first that struck me… there is not one titan in it! It's such a huge and complete step away from the previous three openings. This is evident in tonality too, where sparkling/glittering effects migrate the shots in place of what would have been blood and smears of dark colour. The vocals too are less aggressive, spoken without any German, but a touch of the good Queens English (Because we all know Deutsche is the most violent of languages). Also, I couldn't help but notice a number of shots are reminiscent of Evangelion's opening, especially the 'twisting hand moment' and the often intimate panning shots of the characters. Maybe a nod. Maybe just my paranoid obsession.
New Opening. New Season. New Me.
This got me thinking… Titans are basically EVA units, right? Eren and the others, pilots, right…? Anyway, the opening hints at a more character driven Attack on Titan. Less of a focus on the Titans themselves, but instead on the stories of the humans that repel them, and how they come across the resilience and strength to do so. After a dismal season 2 character wise, this is something I welcome with arms wide open. With this in mind, of course we still want Titan battles… yet, somehow, from my perspective, human conflict draws me in that much more. If anything I want to see Eren's character develop – something we got a taste tester of.
Pacing Was an Issue in Season 2 of Attack on Titan
S2's Episode 9 'The Opening' being the most egregious offender. Something which attempted to take a stab at character drama, all without realising the previous eight episodes had done nothing to make us care about the actual characters. This is where I hope season 3 manages to diverge – gimme the ins and outs of those character baby; well… because Eren, he's a dull bastard. Pacing in the Episode 1 'Smoke Signal' was good. We weren't bent over by exposition and semantics from last year's escapades, and we weren't hauled into some insane backstory which attributes nothing to the narrative. Instead we dive right into it, in what is happening now, and in what is going to happen, all managed in an exciting and engaging way – this shit is how we like it. Because fuck me, Kenny the 'Ripper' seems like one hell of a dude, steampunk me silly!
It's no Island that's for sure…
The background art remains stunning (It goes head to head with Made in Abyss's Art). It really is one of the reasons I keep watching. Especially this season (Summer 2018) which honestly is among one of the worst I've seen since watching seasonally. Are even remotely good-looking backgrounds too much to ask for? What about character designs that are actually original designs? At the very least, Attack on Titan is giving us that this season. However, it's not without its rough edges. Occasionally some of the faces are off, the perspective a little skewed here and there. All whilst I try to decide whether their lack of expression is because of their stoicism and the tone of the world, or simply because of a lack in animation quality. Whatever the reason, a person will have a tough time saying it's a bad-looking show. If stiff faces mean stunning action sequences, then maybe I'm okay with that.
I know many of you are far bigger Attack on Titan fans than I am. I don't think it's the best show, I don't even think it's among the best. It's certainly one of the most popular, and one of the most profitable, not just in terms of manga and anime sales, but huge amounts of merchandise too. It's good for anime if more people are watching anime. Attack on Titan has been bringing people in droves, and I hope it continues to do so. So, because of this, I hope season 3 is brilliant – for the sanity of us all.
What do you think? Does it look promising?
Thanks for reading, as always!
-Chris (Follow me on Twitter and consider supporting Peach's Almanac on Patreon!)
Share it silly!
Posted in: Anime, First Impressions | Tagged: Anime, anime analysis, anime opening, anime opinion, attack on titan, attack on titan season 2, Summer 2018
Island: A Demonstration in Terrible First Episodes
Sunday's Segment: Harukana, Happy Sugar Life, Digibro (#1)(29-07-18)
Follow @Peachs_AlmanacFollow me on Twitter to keep in touch!
Enter your email address to subscribe to Peach's Almanac and receive notifications of new posts by email.
Ckeck out Renta for officially licensed, exclusive manga!
Use coupon
MOE-AWX-JZER0B
for 5% off any order at J-LIST
What People Like
Perfect Blue - Exploring Satoshi Kon's Masterpiece
Bunny Girl Senpai: Characters and the Pain of Reality
REVIEW! - Eromanga Sensei (Why it's so Terrible...)
Conception: Completely Pointless Anime
On Goblin Slayer and Morality: It's Fine?
Domestic Girlfriend Analysis: It's All Fine!
Life is Strange 2: Episode 2 Review – What Happened?
Battlefield V: TTK and The Issue of Community Influence
On Goblin Slayer and Morality: It's Fine?
aku no hana analysis Anime anime 2017 anime analysis anime critique anime essay anime opinion anime review anime thoughts attack on titan attack on titan season 2 creative writing cute ecchi eromanga sensei essay Fall 2018 film first episode gamers! gaming geek Harukana Receive hayao miyazaki How Not to Summon a Demon Lord japan made in abyss my hero academia opinion Oreimo otaku review slice of life social anxiety spring 2017 spring 2017 anime studio ghibli suka suka Summer 2018 summer anime Sunday Segment thoughts welcome to the nhk Writing
Archives Select Month April 2019 February 2019 December 2018 November 2018 September 2018 August 2018 July 2018 June 2018 May 2018 April 2018 March 2018 January 2018 November 2017 October 2017 September 2017 August 2017 July 2017 June 2017 May 2017 April 2017 March 2017


What Day Of The Week Was October 4, 1949?
October 4, 1949 was the 277th day of the year 1949 in the Gregorian calendar. There were 88 days remaining until the end of the year. The day of the week was Tuesday.
A person born on this day will be 69 years old today. If that same person saved a Dime every day starting at age 4, then by now that person has accumulated $2,393.80 today.
Here's the October 1949 calendar. You can also browse the full year monthly 1949 calendar.
Ox is the mythical animal and Earth is the element for a person born on this day if we consider the very old art of Chinese astrology (or Chinese zodiac).
Who were born on October 4, 1949?


text:
WELCOME TO COLOURING LONDON
DATA ETHICS POLICY
Trust in Colouring London and adherence to high data ethics standards are crucial to the platform's success and to its longevity. This includes trust that the stated aims and objectives are actually as described; that data are accurate (or if not that this is made clear); that building occupants' privacy is respected, as well as the privacy of platform users; that partnerships are properly looked after, and that the project is responsibly managed. Breakdown of trust in any of these areas is considered to pose a major risk to the sustainability of the project.
Colouring London is designed for everyone. It looks to create a safe, positive, constructive space for users of all genders, ages, cultural backgrounds and abilities to enjoy and benefit from, and a place where the sharing of knowledge is supported. The Open Data Institute's Data Ethics Canvas is used below to help us identify and address potential ethical concerns.
THE DATA ETHICS CANVAS
Data ethics is described by the Open Data Institute (ODI) as a
" A branch of ethics that evaluates data practices with the potential to adversely impact on people and society-in data collection, sharing and use."
Ethical use of data brings about trust and helps allow data to work for everyone.
Colouring London is using the ODI Data Ethics Canvas to help identify and
manage ethical issues throughout the lifecycle of the project.
As part of the process of development, existing, and new features within the platform are checked against the questions posed by the Ethics Canvas. First stage responses to core questions are given below.
WHERE ARE DATA FROM? ARE PERSONAL OR SENSITIVE DATA INVOLVED?
Colouring London plans to collect around fifty subcategories of data within the following twelve categories, to support research into the sustainability of London's building stock. These relate to building location, use, type, age and history, size, materials and construction, sustainability (including energy rating and estimated lifespan), design/construction team, planning/ designation/demolition status, streetscape/green context, whether the building community owned, and whether the user thinks it contributes to the city.
Our data are accessible at no cost and will also be available on the GLA's London Datastore. Most data we are collating, collecting and/or generating relate to physical characteristics of building, already able to be seen from street or satellite images. Much of this information is also already held within government or commercial databases, but is restricted to the public and academia. Some datasets, such as building designation and energy rating are already publicly available. Property websites also contain large amounts of information on citizens' homes including interior images.
We do not collect personal data, and actively discourage users on our 'sign up' page from contributing email addresses or real names to the site. Our sign up agreement also tries to be as transparent as possible. It emphasises that when users make a contribution to Colouring London they are creating a permanent, public record of all data they add, remove, or change; that the database will record the username and ID of the editor, along with the time and date of the change and that all of this information will be made publicly available through the website and through bulk downloads of the edit history.
Data are gathered in three ways. Firstly and foremost by identifying and collating existing datasets held by central and regional government bodies and other organisations. Secondly by harnessing knowledge held within the historic environment sector and community planning/heritage groups, and by those using and studying the building stock. Thirdly, through the use of computational approaches, allowing existing attribute data to be used to estimate building characteristics, which can later be verified.
Our job is to bring together and visualise fragmented information, make this more accessible and increase data accuracy through verification. Some data may perhaps derive from observation of the building itself, some from historical texts and some as ready-to-go spatial statistics. 'Like me?' is different in that it asks for the user's personal view on whether the building contributes to city. The platform is also being designed as a collaborative data maintenance project as described in the ODI's handbook at https://collaborative-data.theodi.org/.
HOW ARE WE ADDRESSING ACCURACY, BIAS AND INCOMPLETENESS?
To help address issues of accuracy and bias a number of features are being included. Each subcategory will have an accessible edit history, a source box, a verification button, and a query button to enable problems that cannot be addressed within the editing system to be raised. Moderated dropdown options for sources range from 'expert assessment viewed at first hand', to an option to reference a specific scientific paper. Edit histories also allow users to assess the accuracy of data. Phrasing of specific subcategory questions is also employed in certain cases to address uncertainty, with data collected, unusually, at building level.
Our main editing page contains a clear statement that data are derived from multiple sources and that accuracy of the data must be determined by the user.
As with the Wikipedia model the project is being planned as a low cost model, overseen by expert contributors. Our stewarding structure is currently being developed.
WHO ARE WE SHARING DATA WITH AND UNDER WHAT CONDITIONS?
Colouring London has been designed by University College London as a free knowledge exchange platform that collates, collects and generates open data on London's building stock, able to be used by everyone. We do not sell data and we will not share user's personal data (such as their email address) with other organisations.
The site is explicit in the user agreement, required to be accepted on our sign up page, on the way that contributed data can be used. Colouring London contributions are licensed under the Open Data Commons Open Database License (ODbL) by Colouring London contributors.
Users are free to copy, distribute, transmit and adapt our data, as long as they credit Colouring London and its contributors. If users alter or build on Colouring London data, they may distribute the result only under the same licence.
The sign up agreement emphasises that when you make a contribution to Colouring London, you are creating a permanent, public record of all data added, removed, or changed by you as noted above. It is also stated that UCL is unable to accept any data derived from copyright or restricted sources, other than as covered by fair use. Data sources are encouraged to be recorded wherever possible.
Our platform code are also open and we encourage its use by other cities and towns. Code are available on our GitHub site
https://github.com/tomalrussell/colouring-london' under the following licensing terms:
'Colouring London Copyright (C) 2018 Tom Russell and Colouring London contributors'. This program is free software: you can redistribute it and/or
modify it under the terms of the GNU General Public License as published by the Free Software Foundation, either version 3 of the License, or (at your option) any later version. This program is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.
WHAT LEGISLATION & POLICY ARE SHAPING OUR DATA?
We closely monitor changes in UK policy with regard to the opening up of OSMastermap data by the Treasury. Once this has happened all our data will be available as open spatial statistics. The UK National Planning Policy Framework's requirement for greater transparency in planning, and greater public engagement is also influential. Advances in the release of planning data by the GLA means that much more structured planning portal information will also now be able to be streamed into our planning section.
In the sustainability context, our data are specifically designed to support the UK's net-zero greenhouse gas targets for 2050, the United Nation's 17 Sustainable Development Goals , and its New Urban Agenda. Our work also involves pressing government for the open release of currently restricted property tax datasets - now being opened up by many countries. These contain comprehensive building attribute data relating to many of our categories.
WHAT RIGHTS WILL THE SOURCE HAVE?
As noted above, under the Open Data Commons Open Database License (ODbL) Colouring London contributors are free to copy, distribute, transmit and adapt our data, as long as they credit Colouring London and its contributors. If users alter or build on Colouring London data, they may distribute the result only under the same licence
ARE WE SURE WE ARE NOT CONTRAVENING ETHICAL FRAMEWORKS
Data privacy and data ethics are of the highest priority to the project. We work to the best of our ability to ensure we do not contravene existing ethical frameworks. We do this by trying to keep things simple. We actively discourage the contribution of personal data, avoid the collection of data within a building's fabric, and incorporate controlled dropdown menus (with an internal moderation system for sources). Our working partnerships and discussions threads provide ways in which to capture comments regarding ethical issues and we are actively seeking to learn from, and collaborate with organisations advancing the data ethics agenda.
WHY ARE WE COLLECTING DATA? ARE WE REPLACING A SERVICE? ARE WE MAKING THINGS BETTER AND FOR WHOM?
We are collating and collecting open data on London's building stock to provide essential information for citizens, researchers, education providers and policy makers, to support sustainable development. We also want to assist those designing, constructing, caring for, managing and studying London's buildings to help solve urban problems and make the city more efficient.
Our aim is to provide the first port of call for open data on London's stock. The release of open data is also designed to stimulate the production of innovative and efficient products within the academic, non-profit and commercial sectors which promote and support the UK's transition to a low carbon economy, the UN's Sustainable Development Goals and the UN New Urban Agenda.
We also believe that it is healthy for platforms collating data on the building stock to be curated by universities, and others whose stance is impartial and whose brief is to undertake research for the public good.
ARE WE CLEAR IN THE WAY THE DATA WILL BE USED?
We are already aware of areas of research, such as energy, where demand for accurate building level attribute data is very high. We also know, from extensive consultation, that these data are also important to the construction and property industry, housing suppliers, planning bodies and the education sector. We are therefore excited about the many ways in which the data might be used.
We are currently developing a data showcase facility to allow users to upload how data from Colouring London can be best applied to solve urban problems, and to in doing so to inspire and inform.
WHO WILL BE POSITIVELY IMPACTED AND HOW? HOW CAN WE MAXIMISE AND MEASURE THIS?
As noted above, access to building attribute data for London at building level will provide free information for all those involved in the design, research, construction, management and maintenance and analysis of London's buildings, and its sustainable development. Our project is also designed to encourage use by diverse audiences. This element is central to its design.
Our task at the moment is to begin to release data on all our c50 subcategories. The second stage of the project will involve the introduction of features relating to the monitoring of platform (using analytical software ) and the Showcase section which will illustrate how the data are being used.
WHO COULD BE NEGATIVELY AFFECTED BY THE PROJECT? & HOW IS tHIS BEING ADDRESSED?
The ODI's 10th item on its Data Ethics Canvas addresses the issue of negative project impact. Could the manner in which this data is collected, shared and used cause harm? Or be used to target, profile or prejudice people, unfairly restrict access? Could people perceive it as harmful?
All spatial data projects that collect information able to be linked to specific addresses need to be very careful with regard to the type of data collected and how it is held and accessed. A number of checks have had to be put in place to ensure the safety and privacy of building occupants, and platform users.
The main ways in which we are working to minimise negative impacts are by
a) discouraging the submission of personal data (e.g. email addressed, real names), b) not collecting data on the insides of homes, c) not collecting freetext and using only preset dropdowns to prevent cyberbullying and security risks for occupants,
d) only allowing users one vote per user on 'like me?', e) having no negative option for 'Like me?' again to prevent cyberbulling, f) having a sign up page that provides clear guidelines for responsible and ethical use of the site and g) only allow the copy and paste tool to be used for a small number of buildings at once.
Owing to concerns raised during consultation with regard to privacy and ownership data, Colouring London also only collects data on buildings where the freehold is held by the state or 3rd sector owners, with private ownership simply included as a default colour. UCL is also setting up an ethics advisory group.
HOW CAN PEOPLE APPEAL OR AFFECT CHANGES TO THE SERVICE?
Comments can also be made on existing discussion threads. We are also looking at site improvement forms.
HOW ARE WE BUILDING IN CONSIDERATIONS OF PEOPLE AFFECTED BY OUR PROJECT?
The ODI's 13th Ethics Canvas item addresses considerations of people affected by our project. Are we creating potential risks or issues? How are limitations being communicated to those the data is about, and those impacted by its use? And how are we doing this?
Colouring London has been designed from the outset in consultation with representatives from diverse sectors. These are listed on our 'Who's involved page'. Our aim is to work with our partners and their networks to allow possible risks, concerns and improvements to be raised at the earliest possible stage, as well as through our public discussions forum and feedback forms. For these issues to then be addressed and features added, adjusted and/or removed as appropriate.
HOW WILL ONGOING ISSUES RELATING TO DATA ETHICS BE MONITORED & DISCUSSED?
We will be discussing data ethics issues on an ongoing basis with our project partners, our about-to-be-formed ethics committee and within our discussion threads. Relevant actions and updates to the canvas may be viewed on this page. Formal meetings for Colouring London's ethics committee, will take place three times a year.
WHAT DATA ETHICS ACTIONS ARE OUR CURRENT PRIORITES?
Our current data ethics priorities (October 2019) are setting up the Colouring London Data Ethics Committee and working on dropdowns, verification and alert features, and data moderation.


"One of the best nights of music ever heard at the McMillan Hall."
Máirtín O'Connor, Cathal Hayden, Seamie O'Dowd, Laura-Beth Salter & Jenn Butterworth, Ryan Young & Craig Irving, Claire Hastings & Robyn Stapleton, Jonathan Henderson, Jones Family feat Claire Mann, Rhins of Galloway Pipes & Drums. "One of the best nights of music I've ever heard at the McMillan Hall".