text:
require "uri"

require "dry/configurable"
require "dry/core/deprecations"

require "rom/support/memoizable"
require "rom/constants"
require "rom/initializer"
require "rom/http/types"
require "rom/http/transformer"

module ROM
  module HTTP
    # HTTP Dataset
    #
    # Represents a specific HTTP collection resource. This class can be
    # subclassed in a specialized HTTP adapter to provide its own
    # response/request handlers or any other configuration that should
    # differ from the defaults.
    #
    # @api public
    class Dataset
      PATH_SEPARATOR = "/"

      extend Dry::Configurable
      extend ROM::Initializer

      include ROM::Memoizable
      include Enumerable
      include Dry::Equalizer(:options)

      # @!method self.default_request_handler
      #   Return configured default request handler
      #
      #   @example
      #     class MyDataset < ROM::HTTP::Dataset
      #       configure do |config|
      #         config.default_request_handler = MyRequestHandler
      #       end
      #     end
      #
      #     MyDataset.default_request_handler # MyRequestHandler
      #     MyDataset.new(uri: "http://localhost").request_handler # MyRequestHandler
      setting :default_request_handler, reader: true

      # @!method self.default_response_handler
      #   Return configured default response handler
      #
      #   @example
      #     class MyDataset < ROM::HTTP::Dataset
      #       configure do |config|
      #         config.default_response_handler = MyResponseHandler
      #       end
      #     end
      #
      #     MyDataset.default_response_handler # MyResponseHandler
      #     MyDataset.new(uri: "http://localhost").response_handler # MyResponseHandler
      setting :default_response_handler, reader: true

      # @!method self.query_param_encoder
      #   Return configured query param encoder
      #
      #   @example
      #     class MyDataset < ROM::HTTP::Dataset
      #       configure do |config|
      #         config.query_param_encoder = MyParamEncoder
      #       end
      #     end
      #
      #     MyDataset.query_param_encoder # MyParamEncoder
      #     MyDataset.new(uri: "http://localhost").query_param_encoder # MyParamEncoder
      setting :query_param_encoder, default: URI.method(:encode_www_form), reader: true

      # @!attribute [r] request_handler
      #   @return [Object]
      #   @api public
      option :request_handler, default: proc { self.class.default_request_handler }

      # @!attribute [r] response_handler
      #   @return [Object]
      #   @api public
      option :response_handler, default: proc { self.class.default_response_handler }

      # @!attribute [r] request_method
      #   @return [Symbol]
      #   @api public
      option :request_method, type: Types::Symbol, default: proc { :get }

      # @!attribute [r] base_path
      #   @return [String]
      #   @api public
      option :base_path, type: Types::Path, default: proc { EMPTY_STRING }

      # @!attribute [r] path
      #   @return [String]
      #   @api public
      option :path, type: Types::Path, default: proc { EMPTY_STRING }

      # @!attribute [r] query_params
      #   @return [Hash]
      #   @api public
      option :query_params, type: Types::Hash, default: proc { EMPTY_HASH }

      # @!attribute [r] body_params
      #   @return [Hash]
      #   @api public
      option :body_params, type: Types::Hash, default: proc { EMPTY_HASH }

      # @!attribute [r] headers
      #   @return [Hash]
      #   @api public
      option :headers, type: Types::Hash, default: proc { EMPTY_HASH }

      # @!attribute [r] headers
      #   @return [Hash]
      #   @api public
      option :query_param_encoder, default: proc { self.class.query_param_encoder }

      # @!attribute [r] uri
      #   @return [String]
      #   @api public
      option :uri, type: Types::String

      # Return the dataset's URI
      #
      # @return [URI::HTTP]
      #
      # @api public
      def uri
        uri = URI(join_path(super, path))

        if query_params.any?
          uri.query = query_param_encoder.call(query_params)
        end

        uri
      end

      # Return true if request method is set to :get
      #
      # @return [Boolean]
      #
      # @api public
      def get?
        request_method.equal?(:get)
      end

      # Return true if request method is set to :post
      #
      # @return [Boolean]
      #
      # @api public
      def post?
        request_method.equal?(:post)
      end

      # Return true if request method is set to :put
      #
      # @return [Boolean]
      #
      # @api public
      def put?
        request_method.equal?(:put)
      end

      # Return true if request method is set to :delete
      #
      # @return [Boolean]
      #
      # @api public
      def delete?
        request_method.equal?(:delete)
      end

      # Return the dataset path
      #
      # @example
      #   Dataset.new(path: '/users').path
      #   # => 'users'
      #
      # @return [String] the dataset path, without a leading slash
      #
      # @api public
      def path
        join_path(base_path, super)
      end

      # Return the dataset path
      #
      # @example
      #   Dataset.new(path: '/users').path
      #   # => '/users'
      #
      # @return [String] the dataset path, with leading slash
      #
      # @api public
      def absolute_path
        PATH_SEPARATOR + path
      end

      # Return a new dataset with given headers
      #
      # @param headers [Hash] The new headers
      #
      # @note this _replaces_ the dataset's currently configured headers.
      #   To non-destructively add a new header, use `#add_header`
      #
      # @example
      #   users = Dataset.new(headers: { Accept: 'application/json' })
      #   users.with_headers(:'X-Api-Key' => '1234').headers
      #   # => { :'X-Api-Key' => '1234' }
      #
      # @return [Dataset]
      #
      # @api public
      def with_headers(headers)
        with_options(headers: headers)
      end

      # Return a new dataset with additional header
      #
      # @param header [Symbol] the HTTP header to add
      # @param value  [String] the header value
      #
      # @example
      #   users = Dataset.new(headers: { Accept: 'application/json' })
      #   users.add_header(:'X-Api-Key', '1234').headers
      #   # => { :Accept => 'application/json', :'X-Api-Key' => '1234' }
      #
      # @return [Dataset]
      #
      # @api public
      def add_header(header, value)
        with_headers(headers.merge(header => value))
      end

      # Return a new dataset with additional options
      #
      # @param opts [Hash] the new options to add
      #
      # @return [Dataset]
      #
      # @api public
      def with_options(opts)
        __new__(**options.merge(opts))
      end

      # Return a new dataset with a different base path
      #
      # @param base_path [String] the new base request path
      #
      # @example
      #   users.with_base_path('/profiles').base_path
      #   # => 'profiles'
      #
      # @return [Dataset]
      #
      # @api public
      def with_base_path(base_path)
        with_options(base_path: base_path)
      end

      # Return a new dataset with a different path
      #
      # @param path [String] the new request path
      #
      # @example
      #   users.with_path('/profiles').path
      #   # => 'profiles'
      #
      # @return [Dataset]
      #
      # @api public
      def with_path(path)
        with_options(path: path)
      end

      # Return a new dataset with a modified path
      #
      # @param path [String] new path fragment
      #
      # @example
      #   users.append_path('profiles').path
      #   # => users/profiles
      #
      # @return [Dataset]
      #
      # @api public
      def append_path(append_path)
        with_path(join_path(options[:path], append_path))
      end

      # Return a new dataset with a different request method
      #
      # @param [Symbol] request_method the new HTTP verb
      #
      # @example
      #   users.request_method(:put)
      #
      # @return [Dataset]
      #
      # @api public
      def with_request_method(request_method)
        with_options(request_method: request_method)
      end

      # Return a new dataset with replaced request query parameters
      #
      # @param [Hash] query_params the new request query parameters
      #
      # @example
      #   users = Dataset.new(query_params: { uid: 33 })
      #   users.with_query_params(login: 'jdoe').query_params
      #   # => { :login => 'jdoe' }
      #
      # @return [Dataset]
      #
      # @api public
      def with_query_params(query_params)
        with_options(query_params: query_params)
      end

      # Return a new dataset with merged request query parameters
      #
      # @param [Hash] query_params the new request query parameters to add
      #
      # @example
      #   users = Dataset.new(query_params: { uid: 33 })
      #   users.add_query_params(login: 'jdoe').query_params
      #   # => { uid: 33, :login => 'jdoe' }
      #
      # @return [Dataset]
      #
      # @api public
      def add_query_params(new_query_params)
        with_options(query_params: ::ROM::HTTP::Transformer[:deep_merge][query_params,
                                                                         new_query_params])
      end

      # Return a new dataset with replaced request body parameters
      #
      # @param [Hash] body_params the new request body parameters
      #
      # @example
      #   users = Dataset.new(body_params: { uid: 33 })
      #   users.with_body_params(login: 'jdoe').body_params
      #   # => { :login => 'jdoe' }
      #
      # @return [Dataset]
      #
      # @api public
      def with_body_params(body_params)
        with_options(body_params: body_params)
      end

      # Return a new dataset with merged request body parameters
      #
      # @param [Hash] body_params the new request body parameters to add
      #
      # @example
      #   users = Dataset.new(body_params: { uid: 33 })
      #   users.add_body_params(login: 'jdoe').body_params
      #   # => { uid: 33, :login => 'jdoe' }
      #
      # @return [Dataset]
      #
      # @api public
      def add_body_params(new_body_params)
        with_options(body_params: ::ROM::HTTP::Transformer[:deep_merge][body_params,
                                                                        new_body_params])
      end

      # Iterate over each response value
      #
      # @yield [Hash] a dataset tuple
      #
      # @return [Enumerator] if no block is given
      # @return [Array<Hash>]
      #
      # @api public
      def each(&block)
        return to_enum unless block_given?

        response.each(&block)
      end

      # Perform an insert over HTTP Post
      #
      # @param [Hash] attributes the attributes to insert
      #
      # @return [Array<Hash>]
      #
      # @api public
      def insert(attributes)
        with_options(
          request_method: :post,
          body_params: attributes
        ).response
      end

      # Perform an update over HTTP Put
      #
      # @param [Hash] attributes the attributes to update
      #
      # @return [Array<Hash>]
      #
      # @api public
      def update(attributes)
        with_options(
          request_method: :put,
          body_params: attributes
        ).response
      end

      # Perform an delete over HTTP Delete
      #
      #
      # @return [Array<Hash>]
      #
      # @api public
      def delete
        with_options(request_method: :delete).response
      end

      # Execute the current dataset
      #
      # @return [Array<hash>]
      #
      # @api public
      def response
        response_handler.call(request_handler.call(self), self)
      end

      memoize :uri, :absolute_path

      private

      # @api private
      def __new__(*args, **kwargs, &block)
        self.class.new(*args, **kwargs, &block)
      end

      # @api private
      def join_path(*paths)
        paths.reject(&:empty?).join(PATH_SEPARATOR)
      end
    end
  end
end


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text:
5 Minutes with Jeremy Rae
The Notre Dame junior is on the rise after a strong indoor season
By Zachary Ross
Last year, Notre Dame's Jeremy Rae anchored the Irish men's DMR squad to a fourth-place finish at the 2011 NCAA indoor championships, setting a new school record of 9:30.16. This year, Rae received the baton in a similar position in a loaded field, which included collegiate mile record-holder Miles Batty of BYU, and raced his way to the top. Rae, a junior, pulled away from the rest of the field with 400m to go and, with his 4:00.67 split for the 1600m anchor leg, helped the Irish men to the school's first-ever relay national title. It came a few weeks after he ran the second sub-4:00 mile of his career with a 3:59.31 effort at the Meyo Invitational. It was a fitting rebound after his injury-riddled finish at the 2011 NCAA cross country championships (Rae finished 105th). We talked with Jeremy about his nagging Achilles injury, his plan for the outdoor season, being Canadian and his secret source of power.
Running Times: First things first, how does it feel to be a national champion?
Jeremy Rae: I mean, it feels really great. After the race we were all very excited. We thought we had a good shot at winning. I actually spent awhile looking through every leg on every team and I told the guys that there's a good possibility that if they could give me the baton close to the lead, that'd be really great. So we were really excited. But, it didn't take me that long to move on and start thinking of the future. So I think it'll be more exciting when I win an individual title.
RT: How did your leg of the race play out?
JR: The guys gave me the baton in great position. I got the stick in third place and was less than a second ahead of fourth. It ended up being kinda slow. I think we were at 2:01 through 800m and then ended up being 3:04 or something like that through 1200m, until I decided to take the lead. It was nice they had the video board at the end of the backstretch — I could watch everybody and I saw Miles Batty closing the gap on us. I knew he was coming so as soon as he got up to our group, I decided to take off with 400m to go. I didn't want him to sit off the group and rest.
RT: How is your training going now? Have you taken any time off?
JR: I took a couple days off after the relay, just the weekend off, then started back up. Not much of a break. I don't run all that many miles so I didn't really think I needed it. We've been doing more strength base stuff. I won't race until Stanford which is still another two weeks from now, so we're just putting in more strength and things like that.
RT: How many miles are you running?
JR: Shockingly little. I mean, during the season, I can get as low as 40 or 50, but right now I stand right around 60. Just talking to people I compete against I think it's a little low, but I've always been a little low. My mileage was very, very low in high school, in like the 20s and 30s. This is almost a step up.
RT: Have you ever tried to step up the mileage?
JR: A little bit. In cross I get up to the 70s and a few weeks in the 80s, but it's never been much higher than that.
RT: Why is that?
JR: (laughs) I don't know. We've kinda tried but I tend to just break down a little bit. Just to avoid that we decided to just keep it around 70 or 80. We don't really focus on mileage. I'm more of an 800m–1500m guy or 800m–mile guy, rather than a mile–5K. For an 800m–1500m guy, I don't think you need that much more mileage than 60 or 70.
RT: Is there any hope for a 5K in your future?
JR: (Laughs) I've always thought about it. The cross season didn't go as well as I wanted to this year. But initially this summer when I was trying to plan out my season, I told myself if I was an All-American in cross then I'd want to run a 5K at Stanford in the spring. I ended up getting injured last summer and didn't really start training until the beginning of September. The cross season wasn't as good as I wanted it to be. It's just not going to happen. I'm going to go out to Stanford and probably run a 1500m and maybe the 800m. I just don't have the base and am not running the miles. Maybe a few years from now.
RT: What was your injury?
JR: I've been battling this Achilles injury. I actually hurt it last March so it's been 12 months and it always bothers me. I've just kinda learned to deal with it. That's another reason why I haven't increased my mileage. It doesn't allow it. With all the pounding, it flares up when I run too hard or too often. I think it's just tendinitis and I'm working with my trainers to keep the inflammation down.
RT: Do you have a staple workout you run where you judge where you are in terms of fitness, a benchmark workout?
JR: Yeah. In the spring we always do this workout right before the Big East meet. It's basically just to sharpen up. We just do 4x400m with 30 seconds rest and we try to keep them under 60, at the very least. Last year, the week before Big East, three of the reps were 58 and the last one was 53. That's what we're expected to do, just step it down on the last one. That's the one we always look forward to. Everyone gets excited for it.
RT: Do you still have the rat tail?
JR: I do.
RT: What's the deal with the rat tail?
JR: (Laughs) Well, I had a mullet in the cross country season, the whole team did, and we did the mustache thing too. We ended up winning the team title for Stachies at Nashies. We were all excited. After cross, everyone cut their mullets off but I wasn't ready to part with it yet. It slowly got trimmed down and it was sometime over Christmas break when I wanted to try a rat tail, so we did that. It was kind of a joke but then I started to win races. And everyone told me that I couldn't cut it off until I lost a race. Unfortunately, I've kept winning races so I haven't allowed myself to cut it off yet. It's a running joke that's been going since the summer, since growing the mullet.
RT: You've got to keep your source of power.
JR: (Laughs) Yeah, exactly.
RT: What's your plan for the outdoor season?
JR: Well, we're going to start at Stanford and then from there just focus on the 1500m. I don't think I'll be able to run an 800m unless I decide to run it at Stanford. I'm just going to focus on the 1500m. I ended up missing out on an All-American spot last year, I was ninth outdoors. That really frustrated me. I also ran most of last year hurt, so it was really frustrating going to nationals and getting up to the line and knowing that I was hurt and knowing I couldn't give my best. I just want to make sure I go back there and do well. There's no reason I couldn't be in the top five, that's definitely my goal. After that, I'm Canadian so I'm probably going to run at our Olympic trials. Those two weeks between NCAAs and our Olympic trials will be the two weeks I'm looking forward to the most.
RT: Have you bonded with Cam Levins over your Canadian heritage?
JR: (Laughs) No, actually. I only met him for the first time in the cross season and I don't think he knew who I was. That guy is amazing. I mean, we're complete polar opposites in terms of the mileage we run. He's doing great things.
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text:
Champlain Valley Farmers Branch Out
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Posts Tagged 'Political History'
Tim Rowland Tells A Lengthy, Somewhat Irrelevant Story
by Tim Rowland
I was raised just south of the Mason-Dixon Line, or as we knew it, the IHOP-Waffle House Line. That means two things, one that I was heavily influenced by the American Civil War, and two, that to illustrate my opinions, I tell lengthy, somewhat irrelevant stories.
George Pickett was a moon-faced division commander for the Confederacy, a man who finished last in his class in West Point, and were it not for an oppressively humid summer morning in Gettysburg, Pa., might be best known today for his participation in the Pig War of 1859. He was one of those guys who could probably fix your truck, but you wouldn't want doing your taxes, if you know what I'm saying. » Continue Reading.
Rowland's Newest Book Confirms: Politics is a Weird Business
New York Times digital bestselling author Tim Rowland's newest book confirms what many have suspected: politics is a weird business.
Rowland argues in his newest book Politics Weird-O-Pedia: The Ultimate Book of Surprising, Strange, and Incredibly Bizarre Facts about Politics, that today's political culture is no more unhinged than it has been at any point in world history.
In fact, he says, we may comfort ourselves knowing that at points in the past, politics has been much more bizarre than it is now. "Today, for example, at least we are no longer cementing thousands of live humans into our public works projects. That we know of," he says. » Continue Reading.
The Patriot War With Canada
by Stan Evans
William Lyon MacKenzie strode into a packed theater in Buffalo, NY on the night of Dec. 12, 1837, his blue eyes blazing beneath his high, broad forehead, his sandy whiskers a chinstrap beard. The short, wiry 42-year-old native of Scotland had arrived in the booming border city a day earlier, a fugitive with a price on his head, after launching an ill-fated rebellion against the oligarchy that ruled colonial Canada.
More than 2,000 Buffalo residents waited anxiously to hear him speak, quite a crowd for a city of not even 18,000 souls. » Continue Reading.
Gouverneur's Rhoda Fox Graves, NYS Political Trailblazer (Conclusion)
by Lawrence P. Gooley
The Ogdensburg Journal-Republican, forced to eat crow after rejecting Rhoda Graves' claims of Warren Thayer's corruption, applied twisted logic to justify their stance and the senator's behavior. They opened with: "Senator Thayer has retired…. It was found that he was on the payroll of a utility corporation and, we feel, working against the interests of the average resident of this district who has been forced to pay unjust rates." The words "we feel" simply did not apply. There was no question he had been putting the financial screws to his voters while protecting a power company and lining his own pockets.
And then came the kicker, a painful contortion of words—possibly the weakest excuse they could have drummed up—to justify years of unethical, anti-constituent acts by the man they supported. "Senator Thayer was at least consistent. During his entire political life, he has been a close ally of the power groups, a fact that he has never denied. Head of a power company, he was elected to the Assembly and then the Senate, and could not have been expected to change his views." In any day and age, no matter what your politics are, that's a sign of having drunk the Kool-Aid. » Continue Reading.
Charles Evans Hughes Lecture In Ticonderoga
Longtime Glens Falls Post-Star reporter Maury Thompson will present a program on local figure Charles Evans Hughes on April 12th in Ticonderoga.
Hughes served as Governor of New York from 1907 until 1910. After serving as governor, Hughes was a U.S. Supreme Court Associate Justice. He resigned from the Court in 1916 to accept the Republican nomination for President, losing by a narrow margin to incumbent Democrat Woodrow Wilson. He would go on to serve as U.S. Secretary of State and Chief Justice of the Supreme Court.
» Continue Reading.
Rhoda Fox Graves, NYS Political Trailblazer (Part 4)
During Rhoda Fox's efforts on behalf of the Republican Party from 1918 through 1923, there was plenty of praise for her in the media and no criticism, but she was a non-office holder. When she decided in 1924 to run for an Assembly seat, anti-woman resistance was evident, gently discouraging the idea by praising her activism but insisting the job was best done by a man. When she surprised most people and won, the anti-woman factions maintained their stance but were forced to grudgingly accepted her.
Now, with the announcement of a run for the Senate, the kid gloves were off. The party split, evidenced by the strong support she received from the Watertown Daily Times and the virulent attacks emanating from Ogdensburg, especially in the Republican-Journal, when Rhoda's opening salvo went right to the heart of the matter. » Continue Reading.
Gouverneur's Rhoda Fox Graves, NYS Political Trailblazer (Part 3)
After a year in office, Rhoda Graves won reelection to the New York State Assembly, while five other female GOP candidates elsewhere in the state lost. In January 1926, she sought the chairmanship of the social welfare committee, a position already held by a senior member (from Niagara) who was unwilling to surrender it. She was instead given charge of public institutions — not her preference, for sure — but chairing any committee was another historic first for New York women.
Rhoda's second year in office was an active one. She pushed a bill restricting the slaughter of tubercular cows to their home county rather than performing the job at a central location; was in a serious train derailment that killed the engineer, but she and Perle emerged relatively unscathed; argued for higher tariffs on incoming farm goods to protect locals; was reelected vice-chairman of the County Republican Committee; and won reelection to the Assembly. » Continue Reading.
1921: Rhoda Fox Graves Runs For Assembly
Rhoda Graves was active in Republican politics in 1917 when New York passed women's suffrage. When it became the law of the land in 1920, it made the possibility of holding elective office an attractive option for some women.
In 1921, Rhoda's close friend, ten-year assemblyman Frank Seaker, retired from public office, and William Laidlaw, nominated to replace him, served for the next three years. It's not clear what the machinations were behind Laidlaw's decision not to run for another term, but there's no doubt the big announcement that followed was the work of Rhoda, Perle (her husband), Frank Seaker, and supporters among party leaders. Seeking the GOP nomination for an Assembly position was none other than Rhoda Graves of Gouverneur — a woman! » Continue Reading.
Gouverneur's Rhoda Fox Graves, NYS Political Trailblazer
Bucking the odds is a common theme of Walter-Mitty-type fantasies — overcoming daunting obstacles to become a winner, or a hero at some level. Few of us actually live the dream, but sometimes it happens, and during Women's History Month, an incredible North Country example comes to mind: Rhoda F. Graves of Gouverneur in St. Lawrence County.
The extreme unlikelihood of her becoming a historic figure in state politics makes her story all the more compelling. And the details are amazing. » Continue Reading.
Commission on the Adirondacks in the 21st Century: A Status Report
by David Gibson
Adirondack Almanack readers may recall that in 2018 Governor Andrew Cuomo's budget office introduced legislation which would have changed the way the state pays taxes on the public's Forest Preserve. It was proposed to change the ad valorem system, in place since 1886, to a payment in lieu of taxes.
Local school districts and supervisors were alarmed by the negative consequences of the proposed change, as were Forest Preserve advocates. In response, legislative staff sought background information about how the Real Property Tax Law applied to the Adirondack Park, historically speaking. » Continue Reading.
John W. Taylor: New York's (Almost Only) Speaker of the House
The title Speaker of the House of Representatives has received lots of attention during the past few years. It's hard to believe that the nation's fourth-most-populous state (New York—nearly always number one, and in the top five since 1790) has only one native who served in that position.
Well, technically, there are two, but one of them served 99.82 percent of the pair's total time in office—to be explained later. If you're from Northern New York and dislike the idea of people owning people, you'll be pleased at his strong stance for freedom during one of our nation's most turbulent times. » Continue Reading.
US Presidents in Clinton County Talk in Plattsburgh
The Clinton County Historical Association has announced a program "Connections with History: U.S. Presidents in Clinton County," set for Monday, January 14, at 4 pm, at the Lake Forest Senior Living Community, 8 Lake Forest Drive, Plattsburgh.
"Connections with History" is an illustrated talk on U.S. Presidents and other important historical figures who have visited Clinton County and their connections with each other. » Continue Reading.
Bauer: What Does The New State Senate Mean For The Adirondacks?
by Peter Bauer
On Election Day in November 2018, voters across New York State voted for a new direction for the 63-member New York State Senate. With some races remaining close and needing to be finalized based on a count of absentee and provisional ballots, it appears that Democrats have elected 40 Senators and Republicans just 23. There is no way to overstate just what a sea change this is for New York State politics.
There is also no way to overstate the questions that this sea change raise for the Adirondack Park, which is cut up into four State Senate districts, each steadfastly represented by a Republican. These four Senators – Betty Little, Joe Griffo, Patti Ritchie and Jim Tedisco – led by Little whose 45th Senate District has the majority of the Adirondack Park, were members in excellent standing in the exclusive club of the Republican Senate Majority. With a membership of around three dozen they unrelentingly, efficiently and ruthlessly wielded power and thoroughly enjoyed their political spoils. » Continue Reading.
2018 Elections: An Adirondack Council Perspective
by Kevin Chlad
The polls are now closed, most of the votes have been counted, and there were winners and losers. In Washington, power is once again split between the Republicans and Democrats, while in New York, Democrats will take over control of the Senate, putting the state under one-party rule. As the largest non-partisan organization dedicated to ensuring the ecological integrity and wild character of our Adirondack Park, the Adirondack Council keeps a full-time presence in Albany advocating for policies and resources that will benefit the Park's waters, wildlife and communities. We are willing to work with any and all elected officials to make the Adirondacks a better place, regardless of party affiliation. What follows is a comprehensive review of federal and state election results from this year. Winning candidates begin their terms in January. » Continue Reading.
The Internal Border at North Hudson
by Sam Caldwell
U.S. Customs and Border Protection recently made numerous arrests and seized large amounts of marijuana during a five day checkpoint in Essex County. The agency occasionally sets up this temporary check point near Exit 28 of the Adirondack Northway (I-87). A June operation here resulted in similar arrests and seizure of marijuana, as well as what the agency described as the disruption "of two separate alien smuggling rings."
The agency put out a statement saying, "Checkpoint operations are a proven enforcement tool to deny criminal organizations the ability to smuggle people, narcotics or other contraband further away from the border and these arrests exemplify that." » Continue Reading.
More Almanack Stories


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El grafito de Alexámenos (conocido también como grafito del Palatino) es un grafiti en griego encontrado en un muro en el monte Palatino, en Roma. Se lo considera la primera representación pictórica conocida de la crucifixión de Jesús. Se conserva en el Museo Antiquarium Forense o Antiquarium Palatino de Roma.

Contenido

La imagen representa a un hombre crucificado con cabeza de burro. A la izquierda hay otro hombre que levanta una mano.
Bajo la cruz hay una leyenda escrita en griego.  (Alexámenos sébete theón). En griego estándar  es el imperativo plural del verbo «adorar», lo que daría como traducción «Alexámenos. ¡Adorad a dios!». Sin embargo, dado que Alexámenos está en nominativo y no en vocativo y que la escritura griega coloquial solía conllevar numerosas inconsistencias vocálicas, la mayoría de los estudiosos están de acuerdo en que  es una variante de σέβεται, lo que daría la traducción «Alexámenos adora a [su] dios». Varias otras fuentes sugieren que el significado pretendido de la frase se traduciría mejor como «Alexámenos adorando a su dios» u otras variantes similares.

Fecha
Inicialmente, el consenso general señaló que el grafito se remonta a algún año en el siglo III. Sin embargo, considerando la época de adquisición de la vivienda para el palacio imperial y su posterior conversión en Paedagogium, se sugirió como fecha aproximada el año 85-95, bajo el emperador Domiciano, ya que posteriormente la casa habría permanecido sellada.

Descubrimiento y ubicación
El grafito fue descubierto en 1857, cuando el edificio denominado domus Gelotiana fue desenterrado en el monte Palatino. El emperador Calígula había adquirido la vivienda para el palacio imperial, que después de la muerte del emperador se convirtió en un Paedagogium o internado para los pajes imperiales. Luego, la calle donde se ubicaba la casa fue separada con un muro para dar soporte a las extensiones del edificio, por lo que permaneció sellada durante siglos hasta su hallazgo.

Interpretación
La mayoría de los estudiosos concuerdan en que la inscripción es una representación satírica contra los cristianos. La imagen de Jesús con cabeza de burro y su representación en la cruz habrían sido consideradas insultantes por la comunidad cristiana de la época.

La cabeza de asno sugiere la acusación en sorna de onolatría (adoración de un asno), que se dirigía entonces contra los cristianos. Tertuliano, quien escribió a fines del  y principios del III, señala que pesaba sobre cristianos y judíos la acusación de ser adoradores de una deidad con cabeza de asno. También menciona a un apóstata judío que llevaba una caricatura de un cristiano con orejas y pezuñas de asno, titulada Deus Christianorum Onocoetes o El dios de los cristianos engendrado por un asno.

Otras interpretaciones menos probables sugirieron que el grafito representa la adoración de los dioses egipcios Anubis o Set, o que la persona que aparece en el grafito estaría en una ceremonia gnóstica en la que habría una figura con cabeza de caballo.

Significado
Este grafito del siglo I muestra una concepción visual de una crucifixión romana notablemente compatible con las figuraciones posteriores de la crucifixión de Jesús. La configuración del cuerpo de la víctima contra dos líneas que se cruzan para indicar la cruz introduce los rudimentos de la iconografía posterior de la Crucifixión. Contrariamente a las representaciones contemporáneas en gemas que, de acuerdo con la costumbre romana de desvestir completamente al condenado, muestran a Jesús desnudo en la cruz, el crucificado del Grafito de Alexámenos y su adorador están vestidos con colobio corto, prenda entonces típica de esclavos. Orazio Marucchi, que habla de taparrabos en lugar de colobio, argumenta que la ausencia de desnudez indica que el autor del grafito conocía representaciones semejantes de la crucifixión de Jesús ya entonces veneradas por cristianos.

Contra ello se ha argumentado que la cruz no se utilizó efectivamente en el culto hasta los siglos IV y V. Excepto las gemas, las imágenes cristianas más antiguas conocidas representan a Jesús no crucificado sino como un pastor de ovejas vestido a la usanza griega.

El grafito es coherente con el pensamiento grecorromano de aquella época, que consideraba no solamente despreciable, sino absurda la idea de un "dios crucificado". Ya Pablo de Tarso, probablemente en la Pascua del año 57, escribía: "Nosotros predicamos a un Cristo crucificado, escándalo para los judíos, necedad para los gentiles" (I Corintios 1, 23).

«Alexamenos fidelis»
En la siguiente sala, en otra inscripción de una mano diferente se lee en latín Alexamenos fidelis, que significa «Alexámenos es fiel» o «Alexámenos el fiel». Esto ha sido interpretado como una respuesta de Alexámenos mismo, o de un tercero, a la burla del grafito antedicho. Pero su veracidad se pone en duda, debido a varios factores de la inscripción, tales como la semejanza con otras menciones del nombre, así siendo como una copia descolorida de ellas, y la fusión del griego y latín (ΑΛΕξΑΜΕΝΟC FIDELIS).

Referencias

Enlaces externos
 El grafito de Alexámenos: página de Rodney J. Decker (en inglés)
 Alexamenos and pagan perceptions of Christians (en inglés)
 Christian iconography: the Alexamenos graffito (en inglés)
 ReligionFacts: the Alexamenos graffito (en inglés)
 Alexamenos: a Christian mocked for believing in a crucified God (en inglés)

Graffiti
Cruces
Asnos en la cultura
Anticristianismo
Jesús de Nazaret
Crucifixión de Jesús en la pintura

redpajama_set_name: RedPajamaWikipedia


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UNSW Sydney researchers develop packaging from banana plantation waste
body.single-projects .post-content :not(p) img, body.single-post .post-content :not(p) img { display: none; }	Two researchers at the University of New South Wales (UNSW) Sydney have developed biodegradable and recyclable packaging material from banana plantation waste.UNSW School of Chemical Engineering associate professor Jayashree Arcot and professor Martina Stenzel were exploring ways that could help to introduce agricultural waste into the circular economy.The researchers have selected banana-growing industry, which produces large amounts of organic waste. Only 12% of the plant or fruit is used and the rest is discarded after harvest.Arcot said: "What makes the banana-growing business particularly wasteful compared to other fruit crops is the fact that the plant dies after each harvest.	"We were particularly interested in the pseudostems – basically the layered, fleshy trunk of the plant, which is cut down after each harvest and mostly discarded on the field. Some of it is used for textiles, some as compost, but other than that, it is a huge waste."
The researchers focused on the pseudostems of the banana plant, which they thought could prove to be a valuable source of cellulose.According to the researchers, the banana pseudostem could prove to be an alternative to plastic bags and food packaging.In order to extract cellulose, pseudostem material was sourced from banana plants grown at the Royal Botanic Garden Sydney.The pseudostem contains 90% water. It can be dried and ground to a very fine powder.Stenzel said: "We then take this powder and wash it with a very soft chemical treatment. This isolates what we call nano-cellulose, which is a material of high value with a whole range of applications."One of those applications that interested us greatly was packaging, particularly single-use food packaging where so much ends up in a landfill."Tests have proved that the material posed no contamination risks and disintegrate in the soil.
Packaging-gateway


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Silversärk Presents – The Fall of the Byzantium Empire Fashion Show
Posted on April 27, 2015 by littlealicecom	Leave a comment
The Cloud Orchid Crew was invited as VIPs to the "Fall of the Byzantium Empire" Fashion Show by our dear friend, Silversärk. Co-editor Bryan Thompson of Graffiti Photographic was unable to attend. He is currently over seas moving into his new home in Dubai, UAE. Little Alice attended and had the double duty of documenting the show in photos and video. She was pleased to have a wonderful front row seat, perfect for capturing all the sumptuous designs. She was seated next to the co-founders of Autism Solution Pieces, Cathy Wathen and Cindy Shultz (the mother of Silversärk). Alice was honored to have the opportunity to speak to Cindy Shultz before and after the show.
Find out more here.
The show took place at the Hot Water Wherehouse in Milwaukee, WI. A large warehouse converted into a nightclub, the perfect setting for a fallen empire, raised once more. Like ghosts between the walls. DJ Dave UV wove the songs of haunted beings wanting to rule the world, eliciting shivers from every spine.
Many vendors donated their wares and services to the silent auction. The proceeds were given to Autism Solution Pieces. Many thanks to
Imaging Rock-n-Roll Design
Milwaukee Art Museum
Honeypie
Molly's Bakery
Left of the Lake Magazine
Spot of Tea
This is the story of the ending of a civilization – of the breaking of a way of life. The story of a nation facing extinction, & of the choices that it's people made. The story of the ending of an empire, & of the beginnings of the modern world.
Justine in "Sol Invictus"
In 312 A.D., Constantine saw a "cross-shaped light" in the sky to indicate where to build "Nova Roma" – The New Roman Empire. In his vision, an angel laid out the walls of the new city, and it was here that he later encouraged all its citizens to celebrate the "Venerable Day of the Sun." On the banks of the Bosphorus strait, the strategic location of the "Eye of All the World" joined East with West.
$550 Solis Dress, $150 Capelet
Heather in "Constantine"
Rising to the position of Emperor after proving a formidable military officer, Constantine the Great had a vision to build an extension of the Roman Empire. Marking a turning point in ecclesiastical history by ending Christian persecution with the Edict of Milan in 313, he fitted pagan temples with Christian imagery, yet remained neutral in his religious stance, most likely a political move to prevent usurpation. Such was the impression he made, that there were 10 other Emperors who tookon the name "Constantine" in hopes of creating an equally profound legacy.
$220 Solidus Dress
Vivian in "Justinian"
The nephew of Emperor Justin, Justinian I was clever & intelligent, yet came from humble beginnings. The Great Builder, his dedication to the Christian religion formed Constantinople in law as well as in architecture. Revolts, The Black Death, Raiders & Heretics could not stop this resilient Emperor. He even assisted the fashion industry by having silk produced domestically instead of imported from China. Throughout his 38-year reign, & up until the day he died, he never lost his passion for the doctrine in hopes of finding the answer to uniting his Empire under one Orthodoxy.
$240 Basileus Gown, $100 Gold Sequin Mini-Capelet
Anne in "Theodora"
Once a prostitute & performer in the Hippodrome, her rise to Empress occurred swiftly after meeting Justinian I. After coronation, she drove out prostitution, converting brothels into convents, & having former prostitutes become nuns. Despite her being a Monophysite & her husband a devout Christian, their happy union set an example for the subjects of their vast, growing empire, that they had an equal share of power. She even served in his stead while he was ill with the Bubonic Plague.
$350 Regina Dress
Sheila in "Nika"
In 532 AD, Rioters set fire to the palace, churches, houses, & baths, after the New Year's annual games in the Hippodrome. In an attempt to overthrow Justinian I by choosing a new Emperor, their rebellion led to a most horrific event. Approximately 30,000 unarmed rioters were massacred in the Hippodrome in a last-ditch effort to stop the rebellion. An ironic consequence of the city left in ruins was Justinian's opportunity to rebuild Constantinople to his specifications. He would re-imagine the city on a grand scale only 40 days after the Nika Revolt.
$200 Bellatora Dress, $60 Faux Leather Fringe Mantle
Jane Love in "Ravenna"
In Italy, Queen Regent Amalasuntha had feared for many years that the occupying Gothic nobles would overthrow her, & had Justinian I prepare a mansion for her in Dyrrachium. Despite her intuition being true, she remained in Ravenna, & after appointing her cousin Theodohand as King after her young son's untimely death, she was swiftly arrested & executed. This provoked the dawn of the Gothic War; as soon as Justinian I hear this news, he declared war on the Ostrogoths, which in turn led to the even more destructive sack of Antioch.
$80 Ravenna Skirt, $100 Gold Capelet, $40 Gold Blouse
Suzie Sally in "Veba"
Despite already being entrenched in battle from every side, in 541 AD, The Black Death found its way to Constantinople, coming in on grain shipments from East Africa. Despite having the best medical schools & in the Empire, nobody knew its severity or cause. Famine followed pestilence; Death stalked the streets, & in the Empire, nobody knew its severity or cause. Famine followed pestilence; Death stalked the streets, & showed it was egalitarian by striking Justinian I. The death toll was approximately half of Constantinople's population, but this would not be the only time the Bubonic Plague struck the city; nearly 500 years after this, the plague decimated all of Europe. Many afflicted claim to having been touched by a ghostly apparition prior to falling ill, represented by Suzie Sally in the Mortem Cloak.
$200 Mortem Cloak, $300 Orpheum Gown
Cheyenne in "Ilkbahar"
The peacock was a popular subject for Byzantine artists, often used to represent paradise, renewal, eternal life, & spring. Associating the peacock with heavenly paradise was an extension of the Byzantine vision of earthly paradise – many wealthy citizens were known to have kept peacocks to roam about in their gardens.
$275 Pavo Gown with Applique Cape
Lunariea in "Anna"
In 989 AD, in an attempt to ward off the Bulgars, Emperor Basil II asked Prince Vladimir of Kiev to join his army. Vladimir complied, in exchange for the Emperor's sister Anna's hand in marriage. Basil II agreed, but only if the Prince would convert to Orthodoxy. Prince Vladimir assented to his request, changing the face of the Eastern Empire by becoming the spiritual successor of the Byzantine Empire.
$325 Sponsae Dress, $35 Gold Emossed Mantle
Victoria in "Leo III"
Starting off his reign by abdicating the previous Emperor, Leo III showed his military prowess by defeating opponents from Arabia with a little help from "Greek Fire" – a Napalm – like substance that no other military knew how to make. On January 7, 730 AD, Leo III ordered the destruction icons. Met with much consternation in the West, the Empire's Western Synod decreed any attempt to remove icons would result in excommunication. Leo III ensured that any & all revolts caused by iconoclasm were crushed by military force.
$300 Filoque Pencil Dress
Maya in "Schism"
Iconoclasm remained a subject of much controversy for 120 years, until it was finally resolved in 843 AD. Peace would not last, however, as the final break between ideologies took place in 1054 AD. Following over a thousand years of debates on the nature of their Savior, the Greek-speaking Eastern Empire was now known as Eastern Orthodoxy & the Latin-speaking West became Roman Catholicism.
$180 Schismatis Fishtail Gown
Helena in "Irene"
The argument over iconography continued through the reign of Constantine V & Leo IV. Leo IV died early in his reign, leading his wife Irene to be the only woman in the Empire's history to rule as Regent in her own right. She reinstated the use of icons, & after being briefly deposed by her son, had him blinded & exiled. Refusing to recognize Irene's power, Leo III crowned Charlemagne the "Emperor of the Romans." Charlemagne set his sights on Irene as his wife, but she was deposed and exiled before she could reply.
$220 Basilissa Dress, $140 High-Collar Capelet
Elizabeth in "Stavroforia"
Like dominoes, the strongholds of the Empire fell one by one to the Turks after the Battle of Manzikert in 1071 AD. The clash between the Crescent & the Cross caused by The Crusades truly was one of the most devastating & brutal series of battles to ever be fought. The capture of Constantinople may have seemed like a great defeat, but how can run reign from an Empire in ruin?
S250 Strategikon Dress, $60 Gold Embossed Harness, $40 Black & Gold Textured Leggings
Kasie in "Seljuk"
For months, Turkish spies probed Constantinople for weaknesses. The eve before the final war that took down the city, Emperor Constantine XI addressed Sultan Mehmed II in a letter, stating "As it is clear you desire war more than peace, so let it be according to your desire. I will defend my people to the last drop of blood. The Supreme God calls us both before his judgement seat." On April 6, 1453, the Seljuk Turks seized & conquered Constantinople, ending a reign that lasted 1123 years and 18 days.
Tourkika Overdress, $350, $90 Gold Tassel Bolero, $80 Gold Skirt
Contact Silversärk to purchase her designs at spooky.steph@gmail.com
Silversärk is known for the great detail she puts into her work. For the Byzantium Empire collection she called upon her friends Deborah Olson of Milliner Extraordinaire and Joan Junghans of MusesJewelry to provide the perfect headdresses and jewelry. In addition to these beautiful accessories, Silversärk decorated the models with painted tears in their eyes, and painted hands. This was done in three colors: red, black, and gold. The red represented blood, the black represented the Black Death, and gold represented royalty/divinity.
Model Jane Love shows off the headdress made by Deborah Olson, and her gold tears.
Model Jane Love reveals her gold and red painted hands, as the blood-soaked "Ravenna" who was arrested and executed by the Gothic nobles.
Jane Love is an extension of the Cloud Orchid Crew, a model that we greatly enjoy working with and publishing. To hire Jane Love as a model, please contact her at jane_af@yahoo.com
Silversärk addressed the crowd after the fashion show concluded, pouring out her heart with the blood, sweat, and tears that were sewn into each piece. These designs are her livelihood. As a member of the Cloud Orchid Crew, Silversärk is a valuable team-mate and friend. We believe in her vision, and support her craft. Please be sure to purchase one of her incredible designs, visit a fashion show, spread the word. In today's age of mass-production nomcore, Silversärk breaks the monotony and provides handmade clothing with vintage resources.
Pictured: Gavin (left), Cindy (right)
The Autism Solution Pieces organization was founded by Cindy (Silversärk's mother) and Cathy in honor of Gavin (Silversärk's younger brother). The diagnosis of autism is often crippling for a family. The current controversy on autism and vaccinations has brought this condition to the forefront of discussions in American homes. But many families will never know the daily struggles of people like Gavin, Cindy, and Silversärk. In order to help make life easier for their family, and other families in Wisconsin, Cindy and Cathy created the Autism Solution Pieces organization in order to give families a supportive network, full of people who understand. "Awesome Events" are organized so that people like Gavin can enjoy regular activities like everyone else. One such event that the families attend is Sensor Friendly Films, where the theatres have showings with the lights turned up and the sound turned down. Having a community where everyone understands and shares has made such a difference in Gavin's life, and the other children that have been reached out to.
Please reach out and donate to Autism Solution Pieces, and help families receive the support they need.
Thank you to the contributors that made the show possible:
Cindy Shultz, Cathy Wathen, Megan Schultz, Deborah Olson, Joan Junghans, Kyle J. Krueger's Makeup Team, Cheveaux Salon, Nathan Reid, Dave Frey, Jessika Jones, Madeline Page Hunter, Austin Feirtag, Alex Braun, Travis Feirtag, Kathy Nicols, Kat Minerath, Shane Thelen
Keep up with the Cloud Orchid Crew:
Facebook | Youtube | Twitter | MagCloud
Tags: Art, Autism, Byzantium, charity, Cindy, empire, fallen, Fashion, gala, Gavin, goth, gothic, hot, jane, lolita, love, milwaukee, model, modeling, photo, Photography, Pieces, show, Shultz, silversark, Solution, steampunk, water, wherehouse, wisconsin. Bookmark the permalink.
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As someone who has been a stereotypical "struggling artist" within the theatre industry, often resulting in a love/hate relationship, I've decided to share my experience and write one of the most honest blogs I've ever written. Eeeep. Scary. But here goes.
As I approach my 30th birthday (considered OLD for women in the world of theatre and film, sigh) I am forced to look at my career thus far: a task which often leaves me stressed, anxiety driven, with a side of barfy feelings. I often struggle with how to properly measure accomplishments in my career (listening to the RENT song "Seasons of Love" on repeat didn't help AT ALL). I know that I have experienced various achievements but have also faced MANY failures along the way.
I begin to obsess. I start thinking about EVERYTHING. Adding it all up. Okay, well… I've invested countless hours and money. That's got to count for something (I think?). Gone to theatre school, taken workshops, auditioned and auditioned and auditioned, volunteered my time for my arts community, networked at events, developed initiatives, assisted in theatre education, created my own work, even took on writing a BLOG about theatre for crying out loud! That means I did it! Right?! RIGHT?! If I'm successful, I should be supporting myself with my art!
So, why am I still slinging coffees at a cafe?
Enter depression. Exit self-confidence stage left. Cue self loathing.
I begin to shut down and have that horrible argument that I frequently have with other Laura. The one where I remind myself about how many cool, creative things I've done. How I've worked so hard, worked with really talented people, and have some value as an artist. Then other Laura (EVIL Laura) comes back and tells me I'm a fraud. How I'm getting too old and if I was suppose to be successful in any kind of artistic field, that it would have happened by now (there's that word again… successful…). She tells me that everything I do is crap and it's time to think about upping my latte art skills if I want to keep up my creativity.
I hit a wall. I don't know what else to do, so I once again reach for a creative self-help book for inspiration. It's called "Big Magic" by Elizabeth Gilbert (author of "Eat, Pray, Love") and it's changed my approach to creativity.
I am taking myself and my art way too seriously. I REPEAT. I AM TAKING MYSELF AND MY ART WAY TOO SERIOUSLY.
Of course we can be working at coffee shops, bars, clothing stores, movie theatres, and the like and still be artists! DUH, LAURA. We need to support our art, not have our art support us all of the time. When we become reliant on our art to ALWAYS be successful (especially financially) we lose our ability to take exciting risks. We are left with no chance to play. It can put a pressure on; a pressure which can quickly take us from feeling that creating art is a magnificent privilege to it feeling like a crushing chore. When we keep track of these superficial things, always weighing, always tallying, we can start to lose sight of why we are creating art at all. We become OBSESSED with defining success by money, quantity of projects, rewards and distinctions, or career status.
The Entitled Artist - Feeling that the world owes them something. They believe they've worked hard enough and it's THEIR time to come out on top. They deserve it above all else. A false sense of superiority may also begin to creep in.
The Jealous Artist - Also known as the "I could do that" syndrome. Constantly judging others and sometimes even badmouthing your peers. There is a sense of "someone else got mine." There tends to be an uneasy (yet constant) sense of competition.
The Misunderstood Artist - Perhaps they didn't get the response they were hoping for or received a bad review. Now they believe their work is beyond the comprehension of the average human being, and that others couldn't POSSIBLY understand what they feel (others do) or experience what they've gone through (others have).
The Burdened Artist - Frequently referred to as the "I can only create work when I'm in pain" artist. Enjoys needless suffering. Likes to talk about the constant struggle with little reward. They often toil alone for long periods of time only to emerge from isolation to complain about their doomed artistic destiny.
So how do we get out of these toxic negative stereotypes? Well, there isn't really one straightforward answer. But I'll give you a jumping off point. Keep creating. Choose projects you love and are passionate about even if you can't understand why. Have faith in the creative process. Don't lose trust in it even when you don't understand (or necessarily like) the outcome. And lastly, don't give up the minute things stop becoming easy or rewarding.
Let's agree to stop taking ourselves and our work so seriously. Let's make a pact to stop glorifying stress. And let's avoid become so far gone that we reach the stage of depressed isolation where we contemplate whether or not we need both of our ears (thank you, Van Gogh…).
Do what you love. Your art is sacred, sure. But it's also….not. Should it be hard sometimes? Yes. Should it be painful and depressing? No.
Because after all, if you aren't having fun… you're doing it wrong.


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Shine Bright Like A Diamond: Eterneva Co-Founder Honors Loss Brilliantly
business, female entrepreneurs, Michele Weldon, success, women leaders
Eterneva Co-founder Adelle Archer with client David Oine, discussing the story of his late wife, Roberta.
"Five years ago I didn't have any idea I would be doing this incredible work," says Adelle Archer, co-founder of Eterneva, an Austin, Texas-based memorialization company that creates diamonds from the cremated ashes of loved ones.
But the death of a close friend, Tracey, in 2015 from pancreatic cancer just three months after her diagnosis, left Archer with a longing to connect the new business she was launching with a higher purpose and deeper meaning.
Granddaughter of actress Marjorie Lord, and niece of actress Anne Archer, Adelle Archer graduated in 2012 from McGill University in Canada before heading to Austin, Texas to earn her MBA at the Acton School of Business.
At 23, she launched into a tech career, working in product marketing, first for Big Commerce, later for TrendKite, where she met and became friends with Garret Ozar, who was in sales. Together they were exploring the possibility of a company creating diamonds in a lab from carbon.
But after her friend's death, she was exploring options of what to do with her friend's cremated ashes as the custodian. "There weren't a whole lot of meaningful options," Asher says.
@Eterneva is a memorialization company that creates #diamonds from the cremated ashes of loved ones as a way to celebrate lives well-lived. Click To Tweet
"Then one of the diamond scientists said you can extract carbon from ashes and create a diamond from it. We started to look at it and felt it was a need. And it was an amazing way to honor Tracey," Archer says.
From there, she and Ozar co-founded Eterneva, with the "vision and goal to be more than a diamond company and offer multiple options with the latest technologies for celebrating lives well-lived. Ultimately, Eterneva aims to be the premier company for celebrating the legacies of individuals, learning from them and capturing their stories for future generations," according to the company materials.
At costs that begin at around $2,500, the process "starts with a tiny, crystallized diamond seed, a purified carbon source, and a metal growth catalyst. They place these ingredients between the anvils of our powerful hydraulic press, and apply over 1,200 degrees C of heat and over 50,000 atmospheres of pressure. As the temperature and pressure mount, the metal catalyst melts into a molten solution, and the carbon dissolves into it. With great care and control, they cool the solution, and one by one, the carbon atoms build on top of the crystal diamond seed, growing it into a jewelry-grade diamond," according to the website.
In late 2017, Archer and Ozar quit their jobs and went full time at Eterneva. The final quarter of 2017, Eterneva did $280,000 in business, and in 2018, "we broke seven figures,"Asher says.
The funeral industry is worth $20 billion in the U.S., she says, with cremation rates increasing. In 1980, 10 percent of individuals were cremated, and in some states now, that number is as high as 75 percent. More than 2 million pets are cremated each year in this country, Archer says. Until now, there were no options other than to keep the ashes in an urn or disperse them.
The funeral industry is worth $20 billion in the U.S. with cremation rates increasing. @Eterneva offers the bereaved the option of turning ashes into diamonds. Click To Tweet
Now they can create diamonds. The process at Eterneva takes eight months or more, depending on the color and shape, producing a 1.25 carat diamond.
According to the site, the carbon in the ashes is the start of the process. "A versatile element, it is the basic building block to all cells in the human body. Carbon also exists in nature, and under high pressure and temperature, transforms into a rare, pure diamond. By using new incredible technologies, Eterneva can purify your loved one's ashes until just carbon remains, and grow a stunning diamond structured by their DNA."
The mortality rate in the U.S. is about three million people per year. By 2025, the National Funeral Directors Association is forecasting that 63.8 percent of the people who die in the United States will be cremated, and by 2035, 78.8 percent.
"When you lost the most remarkable connection in your life, you are hungry to hold that person close to you so they are not forgotten," says Archer. "Pets, too."
She adds, "A lot of people feel lonely and that they are not able to continue with memories. By creating these diamonds, we take them on a journey. Empathy is a strong quality in this space."
The stories of each loved one are remarkable, Archer says. "There is a good story behind every diamond."
One client honored his late wife who died from breast cancer, by creating pink diamonds from her ashes. "Her husband had pink diamonds made for her family" and he walks in the Komen walks each year in her honor wearing the diamond.
"Eterneva offers an intricate eight-month celebration of life storytelling journey that includes the creation of a diamond from loved ones' cremated ashes. The goal is to keep their legacies alive both through their stories and the diamond. The diamond itself is personalized–color, cut and setting–and filled with meaning of the memories it symbolizes," according to the site.
Honored by INC. as one of 30 Under 30 to watch, Archer says she is leading her company on "an aggressive growth path," having grown more than 250 percent in the first full year.
"The opportunity is there; it comes down to the execution," Archer says. "There are many facets to it—pun intended."
In her short time as a founder, Archer says she has learned some key lessons. "I realized confidence is a super power. If you can be confident in yourself, your abilities, your ideas, then that confidence people will absorb and believe in you."
With that, Archer says, she and her co-founder also celebrate their mistakes. "We celebrate our failures and admit to them immediately. When we see red flags, we act on it."
Though she did not picture herself so young running a company that is about the loss of life, she is grateful she is running a company that is about the celebration of life.
"What gives me the most pride is I kiss my grandma's diamond every day. If I die tomorrow, I think I would die happy."


text:
Q: Fetch data from database and count unshipped orders codeigniter I am trying to fetch data from database and show on one page -> website name - number of orders -
$query = $this->db->query('SELECT * FROM ebay_orders WHERE order_status="Unshipped" ORDER BY webname');
$this->db->where('userid',$userid);

foreach ($query->result_array() as $row)
{
    echo '
';
    echo $row['webname'];
    echo ' - ';
    echo $query->num_rows();
    echo '

';

}

Its working but repeating and showing total together like this -
ebay1 - 20
ebay1 - 20
ebay1 - 20
ebay1 - 20

ebay2 - 20
ebay2 - 20
ebay2 - 20

ebay3 - 20
ebay3 - 20
ebay3 - 20

I want simple method which show data like this -
ebay1 - 5
ebay2 - 10
ebay3 - 5

Please help!

A: Use the query below
$query = $this->db->query('SELECT *, count(id) as total FROM ebay_orders
                                              WHERE order_status="Unshipped"
                                              GROUP BY webname
                                              ORDER BY  webname');
$this->db->where('userid',$userid);
foreach ($query->result_array() as $row)
{
    echo '
';
    echo $row['webname'];
    echo ' - ';
    echo $row['total'];
    echo '

';
}

redpajama_set_name: RedPajamaStackExchange


text:
Frank Alighieri es un deportista neocaledonio que compitió en judo. Ganó una medalla de bronce en el Campeonato de Oceanía de Judo de 1981 en la categoría de –65 kg.

Palmarés internacional

Referencias

Alighieri, Frank


text:
(02) 9688 3355
info@gwraustralia.com
Race Car Preparation & Support
Driver Training and Coaching
Race Engineering
Engine and Sub-Assembly
GWR Porsche Drivers Prepared for Mixed Sandown Weather
read the full story below
The Porsche Paynter Dixon Carrera Cup Australia Championship heads to Melbourne's Sandown Raceway for Round 6 this weekend, and GWR Australia's two drivers, Dylan O'Keeffe and Duvashen Padayachee, are fully prepared for whatever weather is in store.
O'Keeffe and Padayachee both tested at the venue last month, where they were treated to a mixture of wet and dry conditions. Padayachee said the opportunity to experiment with a wet setup will be an advantage should it rain this weekend.
"At the test day, we initially went out with a dry setup on the wet track and it was a bit tricky to drive, but once we made some changes it was actually a good wet-weather car – the handling was very predictable," Padayachee said.
"If there's any rain this weekend, we'll know what to do with the setup straight away and both Dylan and I also have a good understanding of driving techniques on a low-grip surface."
After sitting out the last round at The Bend so his father Indiran could have a drive, Duvashen is looking forward to being back behind the wheel.
"Dad had a lot of fun at The Bend, but it's my turn again now!" he said.
For O'Keeffe, the Sandown round is critically important as he aims to fight for the title. At The Bend, where he achieved his third podium finish from the last four rounds, O'Keeffe closed to within just 46 points of the championship lead.
We need to keep the momentum going and set ourselves up for a big attack on the title in the last two rounds at Bathurst and the Gold Coast," O'Keeffe said.
"So far, our championship campaign has been built on consistency, so we'll aim to keep that going."
Carrera Cup practice kicks off on Friday, ahead of qualifying and racing on Saturday and Sunday.
Carrera Cup Round 6 Schedule
Friday, 19 August
9:40am – Practice 1 (20 min)
12:30pm – Practice 2 (20 min)
Saturday, 20 August
9:55am – Qualifying (10 min)
2:45pm – Race 1 (18 laps)
Sunday, 21 August
9:20am – Race 2 (31 laps)
GWR Australia All Rights Reserved © 2020


text:
using namespace std;

typedef pair<unsigned int, unsigned int> tPairInt;
typedef vector<tPairInt> tVecPairs;

void loadPairs(string _fileName, tVecPairs& numbers);
int findMax(tVecPairs _pairs);
bool operator>(tPairInt& a, tPairInt& b);

int main(int argc, char* argv[]){
    tVecPairs pairs;
    loadPairs(INPUT_PATH, pairs);
    cout << "Biggest number is in line: " << findMax(pairs) << endl;
    return 0;
}

void loadPairs(string _fileName, tVecPairs& numbers){
    char buffer[255];
    ifstream inStream(_fileName);
    string base, expo;
    numbers.clear();
    numbers.reserve(1000);
    while(!inStream.eof()){
        inStream.getline(buffer, 256);
        istringstream tmpStream(buffer);
        getline(tmpStream, base, ',');
        getline(tmpStream, expo, ',');
        numbers.push_back(tPairInt(atoi(base.c_str()), atoi(expo.c_str())));
    }
}

int findMax(tVecPairs _pairs){
    int maxIdx = 1;
    tPairInt maxPair = _pairs[0];
    for(int i=1; i < _pairs.size(); i++){
        if( _pairs[i] > maxPair ){
            maxPair = _pairs[i];
            maxIdx = i+1;
        }
    }
    return maxIdx;
}

bool operator>(tPairInt& a, tPairInt& b){
    return a.second*log(a.first) > b.second*log(b.first);
}

//      My very stupid solution before reading... I mean remembering.. to use the log

//bool operator>(tPairInt& a, tPairInt& b){
////    cout << "Comparing: " << a.first << " to " << b.first << endl;
//    bool baseBigger = false, expoBigger = false;
//    if(a.first > b.first)
//        baseBigger = true;
//    if(a.second > b.second)
//        expoBigger = true;
//    if(baseBigger && expoBigger)
//        return true;
//    if(!baseBigger && !expoBigger)
//        return false;
//    // t & f || f & t
//    double a_base = a.first,
//           b_base = b.first,
//           a_expo = a.second,
//           b_expo = b.second;
//    if(baseBigger){ // A bigger base, B bigger expo
//        double baseRate = a_base/b_base,
//               expoDiff = b_expo - a_expo;
//        if( pow(baseRate, a_expo) > pow(b_base, expoDiff) )
//            return true;
//        return false;
//    }
//    // A bigger expo, B bigger base
//    double baseRate1 = b_base/a_base,
//           expoDiff1 = a_expo - b_expo;
//    if( pow(baseRate1, b_expo) > pow(a_base, expoDiff1) )
//        return false;
//    return true;
//}

redpajama_set_name: RedPajamaGithub


text:
The Who The Kids Are Alright DVD (Deluxe Edition) (2008)
Really, I just don't know how this DVD could be any better.
It seems like every night, Dave and Jay have some new band on stage. Some angst-projecting vocalist trying to sound like Kurt Cobain, some guitarist who knows 5 chords and 2 ways to strum each one, a bassist who plays one note at a time, and a drummer who knows only one rythem – bump-bah-bump-bah-bump-bah-badump. But no matter how bad they are, they all have one thing in common – they're all pretty enough for MTV. It's enough to make me scream in frustration, because I know how good rock and roll can really be, and this DVD is it.
Patch your DVD player through your stereo, put masking tape on all your window glass, stuff the dog's ears with cotton, protect all small children with DOT approved devices, then pop this DVD in and hide under the couch, because THIS is rock and roll as it was and is meant to be – master musicians with genuine f— it all attitude, playing through 10 tons of Marshall Hiwatt amps. In the late 70's there was a famous ad in "Stereo Review" showing a guy sitting in an armchair in front of a speaker, with his necktie being blown straight back behind him. Picture that, and you get an idea of what this movie and this band are all about.
The movie itself is half comedy and half action-drama. The comedy comes during interviews and conversations with the band, with Keith initiating most of it and everyone else either joining in or, in the case of the slick corporate "host" types, getting skewered. The action-drama is all on stage, with Pete whirling his way through incredible guitar playing, Roger providing his usual peerless singing, Keith bringing something almost otherworldly to his drums, and John holding it all down, standing there motionless like the rock of Gibralter, his fingers on the bass a blur.
Unlike so many modern bands, who surround themselves with "star" mystique and who are always safe and cool on stage, The Who were self-deprecating and able to laugh at themselves when they weren't playing, and when they were playing… well, when they were playing, they consistently reached for the stars. Sometimes it didn't work – sometimes they sounded like crap. But when they were in the sweet spot, when they were in "the zone," they were, to use the apt words of another reviewer, "the greatest rock and roll band ever to draw breath."
Most of what you get in this DVD special edition is "in the zone," and what little isn't, doesn't really detract from the experience. Everyone who worked on producing this DVD edition should get a medal, as the film looks and sounds as close to perfection as it is ever going to get.
By the way, if you are listening through an old-fashioned, two speaker system, choose "stereo" under sound options. The reviewer who panned the sound, probably hadn't tried that option yet – on my system (Carver tuner with 2 Dahlquist DQM-9 Compact loudspeakers) choosing "stereo" cleaned up the sound greatly.
Unfortunately, most of the people who buy this DVD, probably already know how great it is. You won't be disappointed, and if you show it to a friend or two, maybe the memory of The Who won't die with us. There's never been another band like them, and this DVD does them justice for the ages.
May 31, 2013 Posted by Jerry | The Who The Kids Are Alright DVD	| DVD's, The Who | Leave a comment
Review After having seen several other major DVD opportunities get squandered (The Beatles's Hard Days Night leaps to mind), it is an utter delight to watch/listen to this DVD. It is great on several levels: the original film was one of the best collections of live performances in the history of rock, the reissue has dramatically improved the look and sound of the film, and the Special Edition extra disc includes some truly wonderful features. This ought to be the model for all future reissues, such as when/if they reissue the Rolling Stones's Twenty-Five By Five.
Only a couple of years ago I was trying to explain to my daughter that in the sixties and seventies, the Who were full-fledged members of the rock Pantheon, as revolutionary and crucial as the Stones, the Beatles, or Led Zeppelin. For some reason, they went into a bit of a decline in the general musical consciousness (I found kids my daughter's age might not know of them at all, whereas they knew the other aforementioned bands quite well). Thanks to some timely re-released and a tragic tour that saw the death of John Entwhistle, their star truly seems to be on the ascendant again. This album is crucial for proving what all of us at the time knew: the Who was without question one of the very greatest live bands of all time.
The Who was an amazing band, full of paradoxes. Roger Daltrey was one of the great front men in the history of rock, and Pete Townshend a crack songwriter and arguably the most entertaining to watch guitarist of all time. Yet, the lead instruments in the band, almost unique in rock, were Keith Moon and his maniacally abused drum kit and John Entwhistle's bass, both of them among the top two or three of all time on their instruments, if not the best. They were a great rhythm section, but they jointly tended to take over the songs musically, unlike Charlie Watts and Bill Wyman for the Stones, who were content to stay rock solid in the background.
Live, they were amazing, with Daltrey marching in place, swinging the mike around like David about to use his sling against Goliath; Pete Townshend dancing disjointedly around while doing his famous helicopter chording of the guitar; Keith Moon playing as if he were on eight different drugs, tossing his drumsticks ten and twenty feet in the air; and amid it all, like the quiet in the eye of the hurricane, John Entwhistle standing stock still, motionless except for his hands moving up and down his bass, playing the instrument better than anyone else ever had, or perhaps has since.
The film begins with a bang, with a famous appearance on The Smothers Brothers Show (an awesome show because it was so amazingly subversive, with Tom and Dick acting like total squares, but in reality leftists who loved exposing the public to acts like Lenny Bruce and Mort Sahl, and bands like The Who and Cream). Unlike Ed Sullivan, Tom and Dick truly loved these bands, and the opening number/skit, a rollicking version of "My Generation" (with Roger Daltrey suffering so badly from a faux upper-induced stammer that was a badge of their identification with the amphetamine-crazed Mods that one isn't certain he is going to be able to finish each line). Each number brings new revelations or refreshes old memories. For instance, in "I Can't Explain" from SHINDIG! Keith Moon is sporting a T-shirt with a bull's eye on it, a full decade before Richard Hell would achieve notoriety in New York for wearing one when he was still with Television.
The numbers included in the film are both wide-ranging and representative. I suppose any Who fan will find many of their own favorites missing, but no one can complain that the numbers focus too much on one phase of their career. The selections are extraordinarily well balanced. One of the more poignant features is the fact that the performance of "Won't Get Fooled Again," which was performed specifically for the film so that they could have one really good performance on film of one of their most famous numbers, was the last time the Who ever performed in their original line up; Keith Moon would die only three months later.
The extras disc is truly worth having, with a feature on the restoration of the movie, and nice items like a tour of the Who's London, an interview with Roger Daltrey, and, my favorite bit, interesting versions of "Baba O'Riley" and "Won't Get Fooled Again," that features only John Entwhistle's bass and visuals. There is no question about it: the guy could play bass.
All in all, one is going to come across very few music DVDs quite this good. I highly recommend it.
Review Having never seen this film before, I was in no position to be impressed by the improved sound or video quality. And having read many of the reviews I was in a sweat of anticipation to finally see this film. Sometimes reading such positive reviews can create over-expectation, and this is what I was most concerned about. I've had that with Roger Waters' In the Flesh and also Pink Floyd's Pulse. This expectation was all the greater as I rate Who's Next as the single greatest album of all time. There is not a note in the wrong place. How can you better that?
So it was with some trepidation I shoved in disk 1. This was made even worse by my 9-year old daughter occasionally coming into the room to laugh at the 'gay guy' singing. This standing joke began with them seeing Mick Jagger in Rock 'n Roll Circus and my kids now routinely mock every 60s band I watch – but it doesn't stop them watching in fascination.
In the end I wasn't disappointed. Quite the contrary. Usually, no matter how good a performance is I rarely watch it all the way through at one sitting – there's just too much else to do. This time I did, and even more rarely it left me wanting much more by The Who.
I've always been very selective about The Who – I don't have much of their pre-Tommy stuff, except a compilation, or their post-Quadrophenia.
But this film demonstrated that they are not a by-numbers band. I hadn't expected them to be an improvisational band, but this DVD has several renditions of the same song and each was worth watching, and were better than the studio version. I've already seen 30 Years of Maximum R&B, and was really divided as to which one to buy. Now I see I need both, as well as Live at the Isle of Wight and maybe even the Royal Albert Hall.
My philosophy with other bands is just to have one DVD to see what they're like live. But The Kids Are Alright shows the evolution of the band – as only 60s bands seemed to evolve. Their early 60s music is quite different to late 60s, and their early 70s music is similarly quite different. Only the Beatles, Rolling Stones, Traffic and Pink Floyd evolved quite as much.
The film also clarified another thing for me – the praise heaped on John Entwhistle. You cannot appreciate his talent unless you see him play.
April 30, 2013 Posted by Jerry | The Who The Kids Are Alright DVD	| DVD's, The Who | Leave a comment


Sunshine and clouds mixed. High near 65F. Winds W at 5 to 10 mph..
EAST HELENA - Construction is underway for the new high school, and the public is invited to help come up with the design of the Vigilantes mascot.
The school board has already taken community input and selected navy blue and gray for the school colors, and the Vigilantes for the mascot.
The next step is picking a mascot logo.
"We actually went out and asked kids to give us some rough ideas of what their concept of the Vigilantes might look like. We took their general ideas and then sent if off to professionals and had the professionals take a look at it and come up with what you see out there right now," said Ron Whitmoyer, the Superintendent for East Helena Public Schools.
The 105,000 square foot high school is projected to open in August of 2020, with the first graduating class coming in 2023.
The school is on track to meet its $29.5 million budget, which will include everything to construction of the building to jerseys for the sports teams.
May 13 is the next school board meeting, where the official logo is expected to be announced.
Whitmoyer says it's important to come to a decision on a logo, so they can plan t-shirts and sweatshirts.
Below are the five mascots the school board is choosing from.


text:
Q: Windows 8 Install Hanging at first white-font boot splash I'm trying to install the Windows 8 preview on my Samsung Series 9 (2012, Ivy Bridge).
I've done a bit of a custom scheme with this one:

*

*I'm using EFI/UEFI on this system.

*I've seen no indication that this system supports secure boot (yay!)

*My SSD is set up with GPT

*Ubuntu is already installed and working great via UEFI.

*I'm trying to boot the Windows 8 install from a USB stick via UEFI

*I don't have access to a CD drive.

The problem is that the boot seems to hang at the very first splash screen that looks like this. White windows font, the little beads don't show up.
My USB stick has an activity light and it does blink for the first few seconds, but then goes back to it's "nobody is talking to me" idle pulse.
What I know:

*

*UEFI booting is definitely working.

*Windows 8 for those few seconds seems to have some kind of access to the USB drive.

*My Series 9 is running the latest BIOS/firmware.

Any idea what I might be able to do to get Windows 8 installed??

A: I've seen this before when installing from bad provisions of the USB stick. It seems that some sticks just don't want to work (I couldn't get it to work with one stick, but trying again with another stick worked better)
Try it with a different USB stick, or reformat and try your stick again. Failing that, I know DVD burns always work.
This is a problem with the Microsoft provided USB creation tool having bugs. It is better in RTM version but still has occasional problems.
My fix? Burned the ISO on a DVD. Slower, but it works every time.

A: Confirm that your ISO is 100% correct. Try downloading a new ISO. Verify the checksum with sha1sum.
Confirm that your installation media is 100% correct. Try using a nonWindows program to burn the DVD; use Linux or Mac OS X (e.g. Disk Utility).


In this edition of Urvanity we feature a special section devoted to individual exhibitions of selected artists. This section put the focus on those young or more renowned artists, who for the quality and complexity of their work, deserve to be presented in a more complete way to the public.
Jan Kaláb (Prague, 1978) is one of the most important artists of international geometric and urban abstractionism. Born in Prague in 1978, he soon became one of the most important local writers, also founding a famous crew, the DSK. With the name of Cakes he travelled through Europe and America, developing his style up to 3-D Graffiti. With the name of Point, he made installations with letters with abstract shapes, placed in the streets or hanged along the walls, looking for ever larger dimensions. These works, though technically far from graffiti, lead him to a superior level of abstraction of forms.
Since 2007 he explores infinite shades of abstract painting on canvas, expressing his own language through a perfect balance between shapes and minimalism, capable of generating amazing effects of depth and dynamism.
Miss Van started wall-painting in 1993, at the age of 20, promoting the feminine movement in Street Art. Originating from Toulouse, France, she has spent most of her artistic life in Barcelona, Spain, and for decades has exhibited her recognizable female figures worldwide. Miss Van's recent artistic pursuits hallmark a recent return to street art, after several years spent solely painting in the studio, charging her new works with increased depth, emotion and an elevated romantic darkness and delicacy.
Her iconic sultry female characters reappear in sensual yet dark animal masks and evolving environments. In a gauzy romantic compositions, they carry a surreal quality of burlesque, resonating with a beautiful synergy of rawness, softness and emotion.
SAM3 (1980, Spain). Faithful to the clandestine and anti-system nature of the new urban art, Sam3 prefers to speak through his own murals – often monochromatic, focused on the human figure. The works of SAM3 are scattered around the world and are published by the most important publishing houses in the sector.
Reluctant to be defined, Sam3 considers the adjective "urban" superfluous when applied to his work, but his public interventions are extremely sensitive to the suggestions of the environment in which they fit and to the look of the casual street audience, with whom he establishes a close relationship. His poetic and ironic imagination takes shape through an astonishing rapidity of execution, a technical mastery that is preferably expressed on large surfaces and that materializes into anamorphic representations.
Dan Witz (Chicago, 1957) lives and works in Brooklyn, New York. The artist boasts extensive formal training that includes studying the Fine Arts as well as Design; influenced by Punk culture, he began his career in 1979 and quickly became one of the major pioneers of Urban Art. Challenging the more traditional canons of the art world, Witz chose to focus on urban art, creating installations on the streets of various international cities and succeeding at expressing his ideas freely and directly.
At the beginning of his career Dan Witz concentrated on hyperrealism, which he explored through painting. His method later evolved towards street installations, which had to be realized in a very short amount of time. The artist is inspired by the social changes of his time when producing art; his interventions in the street are related to political and economic issues.


Loudin Insurance Agency, Inc. is Upshur County's leading independent multi-line insurance agency located at 207 South Kanawha Street in Buckhannon, WV. Being an independent agency, we are not captive to sell for just one company. As an independent agency, we sell for numerous quality companies. Our professional agents choose from these companies and quote you with the ones that we feel are the best fit for your individual or business needs.
Having served Upshur and surrounding West Virginia Counties for over 100 years, we credit our success, to our reputation of honesty, to providing the best coverage at the lowest rates we can obtain for our clients, and to the premier companies we represent.
Loudin Insurance Agency, Inc. offers personal and business lines including, but not limited to, automotive, homeowners, life, health, and retirement options. West Virginia residents and business owners have been putting their trust in us for over 100 years, and we pride ourselves on providing them with the highest level of service and attention to their policy needs.
On the personal spectrum, we also provide renters, boat, motorcycle, ATV, vacation home, cabin or log home, primary residence, identify theft, coal mine subsidence, umbrella and other specialty coverage you may need.
Rest assured business owners. In addition to your property/casualty and liability needs, we offer you a wide range of insurance solutions like workers compensation and employee health insurance plans. Whatever the need and whatever the business, we will do our best to make sure you have the coverage you need.
At Loudin Insurance Agency, Inc. being your preferred commercial insurance agent means we truly understand the importance of having a budget-friendly coverage program in place that is tailored to fit your business no matter how big or small. That's why we have partnered with leading insurance providers like Westfield, State Auto and The Hartford to offer policies and coverage's tailored specifically for different types of business. As a business, we understand one of your most valuable resources is your people.
If you are a current customer, you understand that we pride ourselves on listening to your needs and creating the policy that's right for you. If you're not a customer, we look forward to serving you in the future.
Click here to be directed to our Affiliations page to review the websites of these companies.


When you are a journalist you write about your passion.
Sherri is in a unique position to do just that. She is one of only a few black reporters in Nova Scotia. Over the two decades that she has been telling stories with the Chronicle Herald newspaper and now CBC she has developed myriad contacts and built trust within the African Nova Scotian community—a place where media are not always trusted.
But Sherri acknowledges it is a double-edged sword.
Sherri says when that happens she will suggest another reporter. But that isn't the end of what she considers her responsibility.
Sherri grew up in what she calls "humble circumstances" in a New Glasgow, Nova Scotia.
When Sherri learned what the family of Viola Desmond (Sherri is pictured above with Viola's sister Wanda Robson) was looking for, she knew that it was a story that could shine a very intense spotlight on segregation.
Her work was acknowledged in the Nova Scotia legislature.
Sherri has had to forge her own way as she built her career. When she was growing up there were few, if any, black role models in the media. At King's in the early 90's she was one of very few people of colour. But at King's she learned the journalistic skills to do what she needed to do.


text:
Q: Any reason I cannot just switch a transformer from a 555 to generate high voltages? I had an idea to finally start using my nixie tubes and thought why not just switch a mosfet which switches a transformer to generate required high voltages for nixie tubes from a low voltage supply. When I googled all I found was these boost converters using inductors. Now is there a reason for these being used?

A: Both boost converters and transformers can give higher voltage from lower one. Here are some specifications:
Boost converters:

*

*Require less space than transformers

*Require more components to work

*Light

Transformers:

*

*Require more space

*Require less components to work

*Heavy

According to this, if you want to use less space, use boost converter.
If you can afford more space, then use transformer.

A: What you're describing (switching a transformer at high frequency via a transistor) is called a forward converter. These are more difficult to design than a boost converter. In particular, you have to limit the duty cycle to keep the current in the windings stable.
Transformer-based converters are used to isolate a system from the mains power. If you already have an isolated DC supply, it's much simpler and safer to use a boost converter with an off-the-shelf controller. Trying to build your own switch-mode power supply from scratch is a bad idea unless you really know what you're doing.
Alternately, if you can use mains power you could transform that to the ~200V needed by the tubes and rectify it without needing any DC-DC conversion.

A: Yes, of course there is a reason boost converters are used to make high voltage from a low voltage supply.  The reason is that's what they do, or put another way they meet the spec.
A boost converter with a single inductor is the simplest way to get a moderate boost in voltage with significant current, it takes only a single low-side switching element, and can be easily controlled via PWM.  For high stepup ratios, especially when significant current is required, a transformer starts becoming worth the extra complexity.  At low currents there are cascaded charge pumps, but those require one stage per multiple.  For example, to get 10x higher voltage requires 10 stages ideally, more in practise due to some voltage loss per stage.  Look up Cockroft-Walton for more details on a particular cascaded charge pump.
Old televisions used a flyback transformer topology to make 10s of kV from a few 100 V DC.  The 10s of kV were needed to drive the electron gun in the picture tube.
There are lots of ways of making a higher voltage from a lower one.  Which way is "best" depends on the particular circumstance and on what criteria are most important to you.  There is no single universal Right Answer.

A: Boost converters using a single inductor are the most common type and they also accommadate the smallest amount of power transfer capabilities i.e. they are in the below-1 watt to 10 watt range loosely speaking. A small disadvantages is that they provide no isolation between input voltage and output voltage AND, the peak ratio of step-up voltage to supply voltage is limited probably to less than 100:1 although there will be notable exceptions.
The transformer flyback circuit is often used in AC-DC converters i.e. the wall wart and these range in power from below 1 watt to well over 40 watts. They can be step-up types of course.
Raising the bar a bit is the half bridge (push-pull) transformer design. This uses a centre tapped primary and two (usually) MOSFETs pushing and pulling the primary. I guess these tend to cover the range 25 watts to over 200 watts.
The main circuit of higher powers is the H bridge and these are responsible for AC inverters etc..
So, if you want to know which topology to choose concentrate on power requirements and whether isolation is needed. All apart from the boost (single inductor) circuit can provide isolation.


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