cSiemens (M.K., C.R.), Research Collaborations, AX, Forchheim, Germany.
BACKGROUND AND PURPOSE: Conventional 3D-DSA volumes are reconstructed from a series of projections containing temporal information. It was our purpose to develop a technique which would generate fully time-resolved 3D-DSA vascular volumes having better spatial and temporal resolution than that which is available with CT or MR angiography.
MATERIALS AND METHODS: After a single contrast injection, projections from the mask and fill rotation are subtracted to create a series of vascular projections. With the use of these projections, a conventional conebeam CT reconstruction is generated (conventional 3D-DSA). This is used to constrain the reconstruction of individual 3D temporal volumes, which incorporate temporal information from the acquired projections (4D-DSA).
RESULTS: Typically, 30 temporal volumes per second are generated with the use of currently available flat detector systems, a factor of ∼200 increase over that achievable with the use of multiple gantry rotations. Dynamic displays of the reconstructed volumes are viewable from any angle. Good results have been obtained by using both intra-arterial and intravenous injections.
CONCLUSIONS: It is feasible to generate time-resolved 3D-DSA vascular volumes with the use of commercially available flat detector angiographic systems and clinically practical injection protocols. The spatial resolution and signal-to-noise ratio of the time frames are largely determined by that of the conventional 3D-DSA constraining image and not by that of the projections used to generate the 3D reconstruction. The spatial resolution and temporal resolution exceed that of CTA and MRA, and the small vessel contrast is increased relative to that of conventional 2D-DSA due to the use of maximum intensity projections.
In 1980, when DSA was introduced,1⇓–3 it was originally hoped that intravenous x-ray angiography would be feasible. However, the inability to clearly visualize vascular structures caused by vessel overlap as well as limited signal-to-noise ratio due to then available contrast medium and the image intensifier (II) detector technology quickly led to the adaption of techniques by use of small intra-arterial (IA) contrast injections in combination with the newly available real-time digital imaging capabilities. This capability greatly facilitated the development of the minimally invasive procedures by using x-ray angiography and the field of interventional radiology in general.
The feasibility of obtaining rotational volume acquisitions by using a C-arm angiographic system equipped with an II was initially simulated in 1988 and then by use of an II-based apparatus, implemented in 1996 by Ning and Kruger.4,5 In 1997, Fahrig et al6,7 extended this work showing both in vitro and in vivo results. These systems, as well as currently used systems with flat detectors, allow creation of 1 3D-DSA volume per gantry rotation. Since the introduction of commercial angiographic systems and software suitable for performing 3D-DSA in 1999, the assessment of vasculature in interventional x-ray suites has been done by using the combination of 3D-DSA volume reconstructions (non–time-resolved) and multiple conventional 2D-DSA acquisitions. Multiple 2D acquisitions have been necessary because of 1) the need to visualize the sequences of vascular filling and 2) the inability to clearly see anatomic details on the 3D reconstructions because of the resulting overlap of arterial and, in some instances, venous structures. The need to obtain multiple 2D temporal series at the desired view angle obviously contributes significantly to the radiation exposure and contrast medium dose associated with these examinations.
The method that we describe involves the use of a 3D-DSA vascular volume as a constraining image. The proposed reconstruction method uses all, or most of, the projections obtained after a rotational acquisition done before (mask run) and after (fill run) the injection of contrast medium. This constraining volume is combined with the acquired projections to form a time-series of 3D volumes (4D-DSA). The 3D-DSA depicts an average of the vascular opacification present during the rotational acquisition. Each of the individual projections used to form the standard 3D-DSA volume contains temporal information. Although it must be understood that a CT volume cannot be reconstructed from a single projection, we do not propose a new 3D-DSA volume reconstruction technique. We have developed algorithms that permit 3D-DSA time-resolved volumes (4D-DSA) to be generated by use of the constraining volume and single x-ray projections. Rather than 1 vascular volume per gantry rotation, this technique typically generates 30 time-resolved 3D-DSA volumes per second (by use of a currently available flat detector angiographic system), a rate ∼200 times faster than could be achieved by use of sequential gantry rotations, and at the same contrast and x-ray dose as used to obtain 1 standard 3D-DSA volume.
This capability allows for the viewing of the vasculature in a dynamic display, at any angle, for all time points at any desired angle. This largely eliminates the problem of vessel overlap. The availability of a "library" of time-resolved 3D timeframes thus facilitates diagnosis by providing the ability to view the anatomy not only in any desired view but also to do this at any desired phase of vascular filling, thus eliminating any confusion that might occur as the result of vascular overlap. An additional benefit is that it provides a library of vascular roadmaps at any stage of vascular filling for use in endovascular therapeutic procedures.
The purpose of the work was to investigate the feasibility of reconstructing time-resolved 3D vascular volumes (4D-DSA) from conventional 3D-DSA acquisitions.
All images were acquired by use of either a biplane Artis dBA system or an Artis Zeego flat detector angiographic system (Siemens, Erlangen, Germany). All human and animal studies were performed under institutionally approved institutional review board and/or Animal Care and Use Committee protocols. Rotational images for subtracted 3D reconstructions were obtained by use of 5-, 8-, or 10-second acquisitions to capture the full cycle of contrast inflow and washout. To obtain a sufficient number of consistent projections for an accurate 3D reconstruction and to capture inflow and washout, the rotational acquisition must be long enough to follow a bolus through the vasculature. This may be achieved by use of either multiple C-arm rotations or by use of C-arm rotations of an appropriate duration, for example, 5, 8, or 10 seconds. It seems likely that, depending on the dynamics of the circulation, that is, fast or slow, there will be particular acquisition protocols that are optimal for particular conditions, for example, a 5-second acquisition for evaluation of a patient with an aneurysm at the circle of Willis or a fast-flow carotid cavernous fistula or an 8- or 10-second acquisition for a patient with occlusive disease in which filling occurs by collaterals. More experience is required before definite recommendations can be given regarding choice of an optimal acquisition protocol. Intravenous studies were performed after injection of iohexol (300 mg I/mL) into a peripheral vein at the rate of 4 mL/s over 8–10 seconds followed by a 10-mL saline chase injected at the same rate. Intra-arterial studies were obtained by use of injection of 5–8 mL iohexol.
Four-dimensional DSA reconstruction uses multiplicative projection processing to generate a series of time-resolved 3D volumes (4D-DSA) by embedding the time-resolved data from the standard projections of a rotational acquisition. Before back projection, the individual projections from the acquisition are spatially convolved to increase the SNR. They therefore form a low spatial frequency mask that basically enhances portions of the 3D constraining image that are present at each point in time. After a normalization step, this mask then provides proper projection weighting. As a result of the convolution process, the SNR of the individual timeframes is limited by the constraining image SNR ratio and not by the SNR of the individual projections. When the single projections are back-projected into the 3D volume, there is a tendency for the projection values from overlapping vessels to cause the deposition of erroneous signal (an opacity shadow from opacified vessel to nonopacified vessel) into vessels in the 3D volume. To reduce this effect, for each timeframe, an angular (temporal) search is performed, looking for a range of time before and after the frame that is being projected. After this search, the minimum signal for each voxel is assumed to be due to the ray with the minimum degree of overlap; that value is then assigned to the timeframe being processed. For voxels requiring an angle other than the current angle as a result of the search, the temporal resolution is lower than the typical 30/s rate, as data from a different timeframe are substituted. The frequency of this depends on the sparsity of the vessel configuration. However, overall volume frame rates of 6 frames/s are typical. Figure 1 illustrates the steps in this process. Any of the time-resolved 3D timeframes (3D volumes) can be rotated for viewing at whatever angle the user thinks gives the clearest depiction of the relevant vasculature. These 3D timeframes can be viewed with playback speed reduced or increased, paused, or replayed as desired. The user interface provides for interactive 4D viewing of the 3D temporal volume timeframes and provides for a true interactive 4D viewing experience of the contrast-enhanced perfusion of a vascular network.
Schematic of 4D-DSA reconstruction. After creation of the 4D-DSA timeframes, each one may be viewed in a dynamic form showing the inflow and outflow of contrast from the vasculature, just as with a standard 2D-DSA series. As shown on the 2 series of 4 images at the bottom of the illustration, any selected time (in this case, the image framed in red in the top row of 4 images) may be viewed at any desired angle. Four possible views of the selected image are shown in the bottom row of 4 images.
The SNR values for the acquired projections, for 3D-DSA and for 4D-DSA, were estimated by placing regions of interest in the images. Because variations of the signal selected by the maximum intensity projection process can contribute to the standard deviation in a region of interest, the statistical variations in the 4D-DSA image were measured from the difference between 2 successive 4D-DSA frames that were rotated to the same position. In the 3D-DSA, these variations were very small, so no subtraction was performed. It was not possible to subtract sequential acquired projections because they are not 3D-rotatable and cannot be registered for subtraction. Thus, the presence of these potential signal variations in the acquired projection region of interest could have decreased the measured SNR shown in Fig 2.
Images show a selected projection from a 3D-DSA rotational acquisition (top left), a 4D-DSA timeframe (center), and a standard 3D-DSA reconstruction (right). The SNRs of the 3 images at the region indicated by the yellow arrows are shown beneath each image. The single image at the bottom shows traces of the profile across the 2 arteries indicated by the red line. These images were obtained by use of an IA injection of contrast medium.
A digital phantom was constructed to simulate the various steps in signal curve generation. The phantom consisted of a vein and an artery running perpendicular to the vein. Each was assigned venous and arterial γ-variate time dependences. A 4D-DSA reconstruction was performed with the use of a constraining volume obtained from the reconstruction of the known vessel distribution. Signal curves were then generated from 2 selected regions of interest for different versions of the 4D-DSA reconstruction algorithm.
Previous work has shown the ability to create color-coded parametric images from 2D-DSA series.8,9 Because the basic 4D-DSA images contain signal that is proportional to the contrast (iodine) concentration as a function of time, it is possible to also view these series as a color-coded display showing contrast time of arrival (TOA) in each pixel. TOA maps were created by first forming a volume showing the highest contrast concentration, that is, vessel opacification that occurred during the rotational acquisition (Cmax) and noting the time to reach Cmax/4 on a per-voxel basis. Color-coded 4D-DSA images were obtained by multiplying TOA maps by a binarized version of the 4D-DSA MIP timeframes.
A method for displaying regions of vascular anatomy with increasing times of the contrast bolus arrival can be achieved by multiplying the TOA image by a sliding window that sequentially reveals pixels within a TOA range defined by the window. We refer to this as a bolus arrival mode. For the results illustrating this capability, we used a Gaussian display window with full width at half maximum of 20 4D-DSA timeframes.
The angular search results in some distortion of the signal waveforms. When it is desired to generate quantitative signal curves, the effect of this can be limited because it is possible to omit points from the waveform for which the search resulted in the choice of a projection that is too remote (in time) from the current frame. The signal curve then can be interpolated by use of points for which the search resulted in a suitable temporal displacement, for example, below a chosen threshold.
For the purpose of generating signal curves that correspond exactly to the signal curves in the acquired projections, it is possible to modify the basic reconstruction algorithm to include a binary version of the constraining image. In this case, the projection values are directly deposited in the 3D vascular space and will reproduce the signal curves provided by the projections. This series of 3D volumes does not accurately represent the actual opacification of the vascular network because of vessel overlap and the use of the back-projection step used to create these volumes. However, for the purpose of generating individual voxel signal curves, there are several characteristics of the 4D-DSA reconstruction algorithm that affect the resultant curves that aim to correct the vessel overlap problem inherent in the 3D timeframe volumes. This is demonstrated in the simulations performed with the digital phantom.
As shown in Fig 3, after the basic back-projection step when the projections are multiplied by a binary constraining image (upper right), there are signal peaks caused by the alignment of the vessels with the projection direction. When these are present, they can occasionally give the impression of reversed flow. These peaks are somewhat reduced when the angular search is added to the reconstruction (Fig 3, lower left panel). Better results are obtained when the projections are normalized by dividing them by an estimate of the number of aligned voxels along the individual rays, obtained from the constraining image (Fig 3, lower right panel). These normalizing projection images (1 per projection) are created by forward projections of the thresholded and binarized constraining image. With the use of this method, the similarity of the reconstructed signal curves to those of the input signal curves is satisfactory. This technique effectively helps to weight deposition of the attenuation coefficient in voxels along a ray, resulting in more accurate 4D-DSA raw 3D temporal volume when a normalized projection is back-projected.
Demonstration of the effects of reconstruction elements on accuracy of reconstructed simulated vessel signal curves. The digital phantom is shown in the top frame on the left. The vessels in the phantom (phantom artery and phantom vein) had specified time dependence. These are considered to represent ground truth. The input time curves for these vessels are shown in each panel for comparison. C indicates constraining image; P, projections. The reconstructed wave forms are shown: 1) after multiplication (represented by C × P) of the projections by a binary constraining image (top right); 2) multiplication of the projections by the binary constraining image plus an angular minimum search (represented by C × P + search, bottom left); and 3) multiplication of the projections by the binary constraining image followed by normalization by the estimate of the numbers of projected ray voxels obtained from the constraining image (C × P + Norm, bottom right). The y-axis shows arbitrary units of attenuation. The x-axis shows the projection number.
Figure 4 shows a series of 4D-DSA arterial phase images from a study performed for evaluation of an unruptured aneurysm. These illustrate the ability to view the time-resolved 4D series from any desired viewing angle. This ability to retrospectively view a dynamic angiographic sequence from any arbitrary view angle can potentially result in a significant reduction in radiation exposure because, in our experience, to obtain optimal views, it is not unusual to require multiple 2D acquisitions even when performing a "targeted" (single vessel) diagnostic examination. This ability also removes the need to obtain extreme cranial-caudal views that require passing x-rays through a highly attenuating path. With 4D-DSA, such views can be achieved with the use of a reconstruction acquired from data acquired such that rays traverse a much less attenuating trajectory.
Four-dimensional DSA reconstruction from a 3D-DSA reconstruction performed for evaluation of an unruptured paraclinoid aneurysm. An IA injection of contrast was used for this examination. The top row shows selected timeframes viewed at the rate of 6 frames per second at a fixed viewing angle. The bottom row shows the same timeframes viewed at 4 different angles, which would have not been obtainable in a biplane acquisition because of the mechanical inability to position the A-plane gantry (red icon).
Our initial efforts to use intravenous injections of contrast in conjunction with DSA were hampered by the overlap of vascular structures on the 2D images. With 4D-DSA, this limitation is largely overcome because optimal views, which avoid overlap, can be chosen and viewed at any stage of vascular filling (any view angle at any timeframe and any timeframe at any view angle). This is illustrated in Fig 5, in which the course of the right internal carotid artery can be clearly seen in the early arterial phase 4D-DSA timeframe.
Comparison of intravenous 3D-DSA and early arterial phase time from a 4D-DSA reconstruction. In the standard 3D-DSA on the left, the overlap of both arteries and veins obscures visualization of the internal carotid arteries. In this example, there is no viewing angle that will eliminate this overlap in the 3D-DSA. The image on the right is an early arterial timeframe from a 4D-DSA reconstruction viewed from the same angle as the 3D-DSA on the left. In this 4D image, the full course the right internal carotid artery is clearly visualized (red arrows). The red ellipse shows the position of the distal segments of the internal carotid arteries in both images.
Figure 2 shows a comparison of SNR values measured in the regions of interest indicated by the yellow arrows. The apparent SNR of the acquired projection may have been decreased because of anatomic variations during gantry rotation. Also shown are normalized vessel profiles along the red lines indicated. The profile across these 2 arteries on the acquired projection is noisy. Determination of the exact 4D-DSA spatial resolution requires more careful experiments with the use of well-defined phantoms. These studies are ongoing.
Figure 6 illustrates the ability to color-code a 4D-DSA image such that quantitative information about blood flow can be extracted. This example shows a 4D reconstruction of a study performed for evaluation of an AVM.
Color-coded 4D-DSA and bolus arrival images. The sequence was displayed at a rate of 6 frames per second for visualization of arrival times between 1 and 4.5 seconds. On the top of the figure, binarized 4D-DSA timeframes multiply a time-of-arrival map providing a dynamic display in which each pixel in each timeframe is represented by a quantitative time of arrival value. In the bottom half of the figure, a sliding Gaussian display window is used to show the passage of the bolus through the AVM. The 4D-DSA TOA volume (static) and 4D-DSA TOA (dynamic) 3D timeframes can be viewed from any angle. The 4D-DSA TOA (dynamic) 3D timeframes allow viewing of the temporal dynamics of the 4D-DSA TOA from any angle at any point in time for which data were acquired. These images were obtained by use of an IA injection of contrast medium.
In this report, we have demonstrated the feasibility of generating time-resolved 3D-DSA vascular volumes with the use of commercially available flat detector angiographic systems and clinically practical injection protocols. A review of other angiographic methods (both time-resolved and non–time-resolved) indicates that 4D-DSA can provide spatial and temporal resolution that exceeds that of these competing techniques, for example, MRA and CTA. In particular, 4D-DSA thus provides a new imaging technique with spatial and temporal resolution exceeding competing time-resolved angiographic techniques. Figure 7 shows the relative voxel volume and frame duration for existing time-resolved angiographic methods. We emphasize that this was a feasibility study with implementation of the technique with the use of a prototype environment. Studies to understand the trade-offs of various acquisition and injection protocols are underway. Full understanding and optimization of these protocols will require significantly more experience and use of the technology.
Relative spatial and temporal resolution for competing time-resolved angiography methods. The MRA values are based on the hybrid MRA method reported by Wu et al12 and provide 0.69-mm pixel dimensions, leading to a voxel volume of 0.33 mm3. Typical frame times are 0.3 seconds. The CTA estimate is based on the large area Aquilion system (Toshiba Medical Systems, Tokya, Japan)14 with a pixel dimension of 0.625 and frame rate of approximately 3/s. The 4D-DSA ultimate spatial resolution assuming a magnification factor of 1.5 and a pixel dimension 100 should easily support 200-μ pixel dimensions in a patient, leading to a voxel volume of 0.008 mm3.
The availability of 4D-DSA provides the user with a technique that, from a single contrast injection and rotational acquisition (provided an acceptable constraining volume can be obtained), provides a library of time-resolved images that may be viewed from any desired angle at any time during contrast filling and emptying. Although conventional 3D-DSA reconstructions are viewable at any angle, they do not allow viewing of the vasculature during different stages of filling and emptying, for example, a pure arterial phase or pure venous phase. Because 4D-DSA allows this, it should, in our opinion, allow the performance of many procedures requiring the use of x-ray angiography with significantly less x-ray exposure and contrast medium dose because it would reduce the need to obtain multiple 2D-DSA acquisitions. We also believe that because the time-resolved volume viewable from any angle at any time will largely eliminate the impact of vascular overlap, that 4D-DSA will provide a method that will again make the use of intravenous injections for angiographic studies an attractive alternative to conventional IA studies, thus potentially increasing the safety (less invasive) and efficacy (obtaining images of all relevant vasculature with a single injection and acquisition) of interventional and diagnostic procedures.
All of the images shown in this report were reconstructed retrospectively and were not available at the time of the actual examinations. The reconstruction time per 4D-DSA frame is presently less than 1 second. Clinical validation of the anatomic and temporal accuracy as well as documentation regarding the value of the technique in reducing procedure times, x-ray exposure, and contrast medium dose will start once the technique is developed to a point at which it may be transferred to a clinical angiographic system.
Four-dimensional DSA will ultimately be used along with 4D fluoroscopy, a technique that will provide real-time fluoroscopic roadmap views from any arbitrary direction without a need for gantry movement. Together, 4D-DSA and 4D fluoroscopy should increase diagnostic capabilities and improve the safety and efficacy of endovascular interventions.
We dedicate this work to the memory of our colleague Dr Jan Bose, who recently passed away. Although Jan was not an author of this manuscript, his insights and guidance were invaluable as we worked to bring this technology from a concept to a reality. Jan was a dear friend and colleague; his memory will never leave us.
Disclosures: Brian Davis—RELATED: Grant: Siemens Medical Sponsored Research Grant;* Support for Travel to Meetings for the Study or Other Purposes: Siemens Medical Sponsored Research Grant;* OTHER RELATIONSHIPS: We have a sponsored research agreement between UW Madison and Siemens Medical. Kevin Royalty—RELATED: Grant: Siemens Medical Solutions, USA,* Comments: Project was at least partially funded by Siemens Medical Solutions, USA; UNRELATED: Employment: Siemens Medical Solutions, USA, Comments: Full-time employee of Siemens Medical Solutions, USA; OTHER RELATIONSHIPS: I am also a graduate student at the University of Wisconsin (Department of BioMedical Engineering). Markus Kowarschik—UNRELATED: Employment: Full-time employee at Siemens Healthcare, Comments: Part of this research was funded by Siemens Healthcare. Erick Oberstar—RELATED: Grant: Siemen's Medical Sponsored Research Grant;* Support for Travel to Meetings for the Study or Other Purposes: Siemens Medical Sponsored Research Grant;* OTHER RELATIONSHIPS: We have a sponsored research agreement between UW Madison and Siemens Medical. David Niemann—RELATED: Siemens Healthcare,* Comments: Master Research Agreement between University of Wisconsin and Siemens Health Care. Charles Strother—RELATED: Grant: Siemens Healthcare* Comments: Sponsored research agreement between Siemens HealthCare and UW Madison; Support for Travel to Meetings for the Study or Other Purposes: Siemens Healthcare* Comments: Money for travel to scientific meetings included in budget of research grant; OTHER: License of Intellectual Property; UNRELATED: Consultancy: Siemens Healthcare, Comments: I am an unpaid advisor; Grants/Grants Pending: Siemens Healthcare;* Patents (planned, pending or issued): Siemens Healthcare, Comments: License of IP. Charles Mistretta—RELATED: Grant: Siemens Imaging Solutions,* Comments: Siemens/UW sponsored research grant; Support for Travel to Meetings for the Study or Other Purposes: The Siemens grant provides some travel money; UNRELATED: Patents (planned, pending or issued): Siemens has been licensed to develop 4D-DSA (*money paid to institution).
Accepted after revision December 21, 2012.


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text:
It's Christmas
From the recording Christmas with Common Bond Quartet
The snow is on the ground.
The family's all in town,
it's Christmas (it's Christmas).
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Why we hung the mistletoe. . .
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redpajama_set_name: RedPajamaCommonCrawl


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text:
Q: Refer to a main view controller property by another class I work on a project for iPad with Xcode 4.
I have a main view controller with many UITextField.
The TextFieldDelegate is a separate class in a separate file.
How can I refer, from TextFieldDelegate to a property (to a UITextField) of the main view controller (for example assign a value to a double)?
Thank you.

A: In most cases, if you want to use a separate delegate you should not need more information than what is passed to the delegate (the method's parameters). However, if you don't want to use your MainViewController as a delegate for your UITextField, you can initialize your TextFieldDelegate in your MainViewController instance and pass it the MainViewController instance.
For example you could have:
#import "MainViewController.h"
@interface TextFieldDelegate<UITextFieldDelegate> {
  MainViewController* mainViewController;
}
@property(nonatomic,retain) MainViewController* mainViewController;
-(id)initWithController:(MainViewController*)controller;
@end

@implementation TextFieldDelegate
@synthesize mainViewController;
-(id)initWithController:(MainViewController*)controller {
  if(self = [super init]) {
    //some stuff
    self.mainViewController = controller;
  }
  return self;
}
@end

Then in your MainViewController:
TextFieldDelegate tfd = [[TextFieldDelegate alloc] initWithController:self];

You just need to set the TextFields' delegate to tfd and you should be able to reference the MainViewController properties from the TextFieldDelegate instance. It's also possible to initiate it somewhere else, as long as you send the MainViewController instance to your TextFieldDelegate instance.
Edit: woups forgot a few '*'

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Twist LED Task Light Herman Miller
Yves Béhar is a thinker. And one thing he thinks about a lot is the future. You can see it in his designs—from his reflective red-lacquered laptop for Toshiba to his elegant closed-toe Footprints for Birkenstock to his refined Aliph Jawbone Headset for cell phones. "I believe design's purpose is not only to show us the future, but to bring us the future," he states.
The founder of fuseproject ("dedicated to the emotional experience of brands through storytelling"), Béhar has been exploring the design world since his childhood in Switzerland. "In Europe, it is double nature to evaluate objects based on how they work and how they look," he explains.
Béhar grew up in a bicultural home, influenced by his East German mother and Turkish father. "One is functional and modernist and the other, expressive and poetic," he says. "I always try to marry the two in my projects."
For a relatively young designer, he has had a remarkable career. A graduate of the Art Center College of Design, he started out working with high tech Silicon Valley clients such as Apple and Hewlett Packard, eventually gravitating into the sport, apparel, technology, and furniture arenas.
"In Europe, it is double nature to evaluate objects based on how they work and how they look"
- Yves Béhar
One of the countless magazine articles written about Béhar called him "the multi-disciplinary designer of our time." His long list of awards includes the prestigious National Design Award from the Cooper Hewitt Smithsonian National Design Museum, where his work is part of their permanent collection.
In 2004 he had two solo exhibitions, one at the San Francisco Museum of Modern Art and the other at the Musee de Design et D'arts Appliques Contemporains in Lausanne, Switzerland.
"When working with clients, my philosophy is to connect emotionally through ideas and content rather than style," says Béhar. "It's less about this or that aesthetic and more about meaningful conversations where people come to agreement in terms of approach and direction."
His collaboration with Herman Miller came about through one such conversation. An admirer of Charles and Ray Eames, Béhar decided he wanted to do something for the company himself. "Design is very much at the center of Herman Miller's culture," he says. "So one day I just picked up the phone, called them, and said, 'Let's work together.'"
Four years later, Herman Miller introduced his two brilliantly innovative lighting products, Leaf and Ardea.
Given the wide range of products he works on, it would seem that Béhar might have a hard time escaping thoughts of design. Not at all, he says. "I have many outside interests that keep me balanced. For example, I love surfing, windsurfing, and snowboarding. So I spend a lot of time in the natural world, too."
As for his future, Béhar says he's very content designing products for companies who are "looking for departure, change, transformation. I'm continually excited working with people who want to move forward into the future and onto the next generation."
From all indications, this is the man who can take them there.
fuseproject
IDEA, Twist (Bronze), Ardea (Silver-eco, Gold-ID), 2010
GOOD Design Award, Ardea and Twist, 2009
Green GOOD Award for Leaf, 2009
Red Dot Design Award for Leaf, 2008/9
Spark Award for Leaf, Silver, 2007/8
ID Magazine Annual Design Competition, 2002/3/4/5/6
IDEA, Business Week Gold, Silver and Bronze Excellence Award (17), 2001/2/3/4/5


Can we assign things like SetVisible(bool), move, resize, etc, or are these just anchor points?
Just anchor points - they're read-only. I'd like to add the ability to move and hide them, but that obviously isn't in 1.7.
Are there Events for the UI.Native frames?
Yes - Move, Size, Layer, Strata, and Loaded.
Some of the frames do not clearly indicate what they are, like Accolade, ConsoleX, Ctf, and others. Maybe some people can guess, but is there a way to Print or Debug what each of these do?
Documentation didn't really make it in. There's no official list, but I'll see if I can get some documentation added on the PTS, which would obviously apply to live as well.Accolade is the pane that shows PvP accolades (like "killing streak", and the like.) ConsoleX is your chat consoles. Ctf is the pane used in Whitefall Steppes to list flag information. If you're confused about others, let me know!
Is this a complete list? Just wondering because I don't see something that infers nameplates, for example.
This is a complete list at this time. Nameplates, if they're ever provided (and no guarantees on this - they present quite a lot of challenge to avoid exploits) will be provided through some other mechanism. Other frames may be added to UI.Native in time, although this is *mostly* a complete list as of right now.
Even if we can't alter the native frames, we should be able to duplicate them in some way. Might not be perfect, but it is a start. Makes me wonder, for example, could we put spells, items, and abilities into a new frame that is anchored to UI.Native.BarMain?
Well, technically, you can already duplicate them in some way . . . you can make your own frame that acts the same way :V That's likely the best we can offer, though.With the secure frame macro support you could absolutely put spells, items, and abilities in a new addon window, then anchor that to UI.Native.BarMain. I believe you could now provide drop support with *.Cursor(), though obviously not in combat. (If you can't, let me know what's missing - that's one of the intended use cases for *.Cursor().)I'm trying to come up with a good way that I can provide the internal names for our core textures. Once I do, that'll make it much easier to make native-lookalike UI elements.


text:
Theodor Peters ist der Name folgender Personen:

* Theodor Peters (Ingenieur) (1841–1908), deutscher Ingenieur und Verbandsfunktionär
 Theodor Peters (Missionar) (1848–1921), deutscher Ordensgeistlicher und Missionar
 Theodor Peters (Mediziner) (1926–2008), deutscher Arbeitsmediziner

Siehe auch:
 Theo Peters

redpajama_set_name: RedPajamaWikipedia


KUALA LUMPUR: Swiss banker-turned-whistleblower Xavier Justo (pic) confessed to a degree of amusement when watching the recent Al Jazeera interview with former prime minister Datuk Seri Najib Tun Razak.
"I am sorry, but I was smiling because it's probably the worst performance of a politician in any country," said Justo, in reference to Najib's interview with Mary Ann Jolley.
"The answers were so vague, and then he was going to walk out, or maybe not," he told The Star here on Wednesday.
Speaking to Al Jazeera's 101 East in an exclusive interview that aired last Saturday (Oct 27), Najib was grilled over issues related to 1Malaysia Development Bhd (1MDB) and the RM2.6bil deposited into his account, which he had claimed was a donation from a member of the Saudi royal family.
At one stage, the former premier threatened to walk out of the interview, saying that he had "assumed we were going to talk about the economy".
Justo, who himself has an interview coming out in November with Jolley, said that when confronted with the reality of criminal charges, different people react in different ways.
"You have only two options really – to deny the facts or confess the truth.
"If you are asked, it's either you don't go on TV or you go. If you go, you must be honest or you must be a good liar.
"If you are a very bad liar, everyone can see it," he said.
Justo is in town for the third time since Pakatan Harapan took Putrajaya in the 14th General Election in May.
He was a key speaker at the Anti-Corruption Summit 2018 organised by Transparency International Malaysia.


text:
Condo Owners In Multiple States Can Be Forced To Sell Their Homes
In at least 12 states, including Arizona, Alabama, Texas, and Pennsylvania, an outdated law can force people to sell their condominiums even if they don't want to.
By Ryan Clancy | Published 4 days ago
Condo owners have been surprised by a secret law that could take away their homes. This law, implemented in Texas, allows the legal sale of a condo complex as a whole as long as it has over 80 percent of the owner's permission to do so. Every condo gets a vote in the sales process, with some condos receiving a more significant vote depending on their size. Once the complex is sold, anyone who still has objections or does not want to sell will still have to give up their property.
Some people still support this dated law, stating that it makes financial sense for some owners, especially when living in an aging building with no extra income for repairs. These types of owners can receive great benefits from the sale of their condos. But many condo owners are still unaware that this law even exists, even after purchasing a condo in a complex.
A condo is an apartment with shared living facilities like common areas and outdoor cooking areas, which can complicate ownership. Within the complex, there are utilities that all the owners share, such as a communal laundry room and shared swimming pool. To keep these areas in good shape, each owner pays a monthly fee for the upkeep.
In the 1960s, condos gained popularity steadily, which meant that laws needed to be implemented to regulate them. Historically, a law was in place that 100 percent of owners had to agree to sell their complex. But in 1993, that was overhauled to the reduced number of 80 percent.
While this may be controversial in modern times, people need to understand what they are buying by reading the fine print. Anyone that purchases a condo will be given all the necessary legal documentation, but hardly anyone reads them.
A clause that reduces people's rights over their property doesn't seem like something that would happen in places like Texas. Still, it backs the majority interest and local business rather than one person's feelings, which may be harsh but true.
Over the last 20 years, properties have increased rapidly, so alternative living, like buying a condo, has become more popular. Across the country, condos are cheaper than single-family homes, sometimes even by 10 to 20 percent. But for the reduced price, a lot of the time, the apartment will be smaller and without a garden.
This law about selling condos has been implemented in at least twelve states, including Arizona, Alabama, and Pennsylvania, to name a few. But last year, some states started to rethink these outdated laws, and in Arizona, they amended the law and increased the percentage from 80 to 95 percent.
While it seems like it is unfair to push a person or family out of their house when they have bought it fair and square but if you have entered a contract and know that it could be a possibility, then it is something that people have to live with. Or worse, if you haven't read it and still signed the contract, well, then it is your own fault.
Beer Prices Are Projected To Skyrocket, Here's Why
How An Old Train Could Help Fight Climate Change
Apple Is About To Become The Most Valuable Company Ever
Dogs Can Detect COVID-19 Cases Better Than Tests?


text:
home / u-art /
VIVARTE festivals pictured
About the 3rd International Chamber Music Festival VIVARTE organised by the U-Art: You and Art Foundation jointly with the State Tretyakov Gallery. Six chamber music concerts were held in the Vrubel Hall. Each concert programme was associated with an exhibition of one masterpiece from the vaults of Tretyakov Gallery with descriptions from the leading gallery custodians. VIVARTE festival ended with a "musical promenade".
Photo: Evgeny Evtyukhov, Kirill Kudryavtsev
3 June Mikhail Kopelman (violin) and Boris Andrianov (cello)
Iveta Manasherova, the Founder of the U-Art: You and Art Foundation, and Iveta Manasherova, the President of Vivarte Festival, and Zelfira Tregulova, the General Director of the State Tretyakov Gallery, open Vivarte Festival.
Irina Shumanova, the Head of the Department for Graphic Arts of the 18th Century and Early 20th Century, describes the painting by M. Larionov.
Mikhail Kopelman, first violin
Kopelman Quartet composed of Mikhail Kopelman, first violin; Boris Kuschnir, second violin; Igor Sulyga, viola; Mikhail Milman, cello
Kopelman Quartet
5 June Evening painting Paris by K. Korovin
Margarita Chizhmak, the research associate of the Department for Paintings of the second half of the 19th century and early 20th century, describes the evening painting Paris by K. Korovin Korovin donated this work to his follower.
Iveta Manasherova, the Festival President
Grigory Kovalevsky, bass
Mikhail Milman, cello
6 June Evening painting Lilac Bush in Bloom (1904 - 1905) by M. Larionov
Sergey Nakaryakov, trumpet/flugelhorn; Evgeny Brakhman, piano; Elena Revich, violin; Aleksandr Mitinsky, viola; Fedor Belugin, viola; Denis Shapovalov, cello
Sergey Nakaryakov, trumpet/flugelhorn; Evgeny Brakhman, piano
Elena Revich, violin, and Denis Shapovalov, cello
Boris Andriano, the Art Director of the Festival, and Tamaz Manasherov, the founder of the U-Art: You and Art Foundation
Denis Shapovalov and Iveta Manasherova
Ilya Gringolts, Grigory Krotenko and Igor Fedorov
Elias Faingersh, trombone (Switzerland)
Olga Muromtseva, Sergey Nakaryakov and Grigory Krotenko
7 June Olga Muromtseva, Cultural Charitable Foundation U-Art: You and Art
Sergey Malov, violin, and Andrey Pushkarev, vibraphone
Sergey Malov, violin
8 June Evgeniya Ilyukhina, Deputy Head of the Department for Graphic Arts of the 18th Century and Early 20th Century, describes the evening painting Theatrical Costume Sketch by M. Larionov
Igor Stravinsky (1882–1971) The Tale of Fugitive Soldier and Devil Read, Played and Danced inspired by Russian folk tales collected by A.N. Afanasyev (1917)
Grigory Krotenko, Elias Faingersh and Igor Fedorov
9 June Boris Andrianov, the Art Director of Vivarte Festival
Alena Baeva, violin, and Ilya Gringolts, violin
Andrey Usov, viola
Alena Baeva, violin
Ilya Gringolts, violin; Boris Andrianov, cello; Konstantin Livshits, piano
Iveta Manasherova, the founder of the U-Art: You and Art Foundation and Festival President
10 June Musical Promenade Boris Andrianov, cello, and Dmitry Illarionov, guitar
Elias Faingersh, trombone Trombone Magic Programme
Aleksey Aigui & Ensemble 4'33"
Supporting Art Studies in Russia
The U-Art Foundation establishes a grant for Tretyakov Gallery scholars In early 2017, the U-ART Foundation announced the launch of an endowment program for the State Tretyakov Gallery art researchers. The new source of funding will make possible doing research at out-of-country museums, archives, universities, and other institutions
Moscow through the Ages
Many books are written about Moscow. Thousands of poems and songs are dedicated to the city. Countless images of it can be found in graphic arts and cinematography. The capital has been transforming from one era to another. Like a human being, the city changed its temper and moods with age, however, at all times it maintained its unique atmosphere. Every person, be it a Muscovite or a visitor, had, has and will have his or her own Moscow: favorite places and routes, warm memories and nostalgic feelings.
Innovation. Reloading.
Innovation is the only national award in contemporary art; the title implies looking into the future, being open, being ready to change oneself and the world. Trendy in the Russia of the early 2000s, the word has lost much of its relevance by now. And similarly, the format of a formerly progressive award has become stale; that was shown by the crisis it went through in 2016 when the jury broke up over some differences and the top prize wasn't awarded.
A Precious Necklace
Back at the time when Vivarte, a chamber music festival, announced its first programs at the Tretyakov Gallery it was called a direct competitor — and even an epigone — of the famous Svyatoslav Richter's December Nights. Held at the Pushkin Museum, the latter combined music and painting too. However, Vivarte's organizers carried out their project to a high standard proving the new festival had its own face which, judging by the huge interest it aroused, would soon be recognizable all too well.
The Return from Europe to Russia
The State Russian Museum with the participation of Alexei Jawlensky's Archives and with the assistance of the U-ART Foundation prepared a large-scale international project dedicated to the creative work of the Russian artist Alexei Jawlensky and his son Andreas. The grand opening of the "Alexei and Andreas Jawlensky. Adventures in Color" exhibition took place on 10 August 2017 in the branch of the Russian Museum in Malaga. It is planned to bring the exposition from Spain to St. Petersburg, Russia, where it will be shown in the halls of the Russian Museum.
About us News History Mission Key brands Interview Contacts
"UNIDENT open — 2019" Orthodontic Competition
The regular open "UNIDENT open" competition for the best doctor among orthodontists and non-orthodontist doctors undergoing residency training in ORTHODONTICS is held by UNIDENT STOMATOLOGY. Winners of the competition will be awarded with diplomas and valuable gifts.
Mood color is white
Teeth Whitening Center of Professor Akulovich has opened in the Unident dental clinic on Arbat. Today it is the most advanced Russian center of this kind. It is equipped with the best teeth whitening devices, the cutting edge gadgets for dental photo and color protocol and uses the state-of-the-art technology
In 2018, R.O.C.S., the Russian toothpaste brand, once again became the leader of the pharmaceutical market
On 18 December, the Moscow Leningrad Club hosted the ceremony of awarding the winners of the annual National Pharmaceutical Rating in 12 nominations, which included more than 1,300 manufacturers and more than 5,800 brands. The large-scale NPR award is based on the sales figures of the entire Russian pharmaceutical market.
Technology in details
The dental clinic of the Ministry of Defense has reopened after the reconstruction. The renovated medical complex is now a fully equipped multifunctional medical center, capable of handling on its own all tasks related to diagnostics, treatment, prosthetics and rehabilitation of patients.
1994−2018 © Unident. All rights reserved.
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Home Alone 2: Lost in New York
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La-La Land Records (826924123225)
Movie | Release date: 12/04/2012 | Film release: 1992 | Format: CD
CD #ad
Amazon.com Amazon.fr Amazon.co.uk Amazon.de Amazon.es Amazon.it
Limited edition: 3000 copies
(8.20/10) (5 votes)
Stay better informed and get access to collectors info!
Other releases
1. Somewhere in My Memory (Lyrics: Leslie Bricusse) Chorus & Orchestra 3:54
2. Star of Bethlehem (Lyrics: Leslie Bricusse) Chorus & Orchestra 3:32
3. Home Alone (Main Title) 2:10
4. This Year's Wish 1:48
5. We Overslept Again / Holiday Flight 3:18
6. Separate Vacations 1:58
7. Arrival in New York 2:58
8. The Thieves Return 3:29
9. Plaza Hotel 3:04
10. Concierge 1:32
11. Distant Goodnights (Christmas Star) (Lyrics: Leslie Bricusse) Chorus & Orchestra 2:05
12. A Day in the City 1:00
13. Duncan's Toy Store 2:42
14. Turtle Doves 1:29
15. To the Plaza, Presto 3:25
16. Race to the Room / Hot Pursuit 4:10
17. Haunted Brownstone 3:01
18. Appearance of the Pigeon Lady 3:23
19. Christmas at Carnegie Hall - O Come, All Ye Faithful / O Little Town of Bethlehem / Silent Night 5:11
1. Christmas Star � Preparing the Trap (Lyrics: Leslie Bricusse) Chorus & Orchestra 4:23
2. Another Christmas in the Trenches 2:34
3. Running Through Town 1:16
4. Luring the Thieves 4:02
5. Kevin's Booby Traps 7:25
6. Down the Rope /Into the Park 5:07
7. Reunion at Rockefeller Center /It's Christmas 5:21
8. Finale 2:00
9. We Wish You a Merry Christmas (Traditional) / Merry Christmas, Merry Christmas (Lyrics: Leslie Bricusse) Chorus & Orchestra 2:52
10. End Titles (�Somewhere in My Memory�) 1:34
11. God Rest You Merry, Gentlemen /Good King Wenceslas (Traditional) 2:23
Additional Music
12. The Christmas Song 1:42
13. Let It Snow! Let It Snow! Let It Snow! 1:16
14. Winter Wonderland 3:25
15. My Christmas Tree (Written by Jack Feldman and Alan Menken) 2:39
16. Christmas Star (Lyrics: Leslie Bricusse) Chorus & Orchestra 3:21
17. Merry Christmas, Merry Christmas (alternate) 2:44
18. Celebrity Ding-Dang-Dong 0:41
19. Holiday Flight (alternate) 2:26
20. Suite from �Angels with Filthy Souls II� 0:58
21. Merry Christmas, Merry Christmas (orchestra) 2:27
La-La Land Records and 20th Century Fox proudly present the remastered and slightly expanded 2-CD release of acclaimed composer John Williams' (JAWS, STAR WARS, RAIDERS OF THE LOST ARK, SCHINDLER'S LIST) orchestral score to the 1992 blockbuster holiday sequel HOME ALONE 2: LOST IN NEW YORK, starring Macaulay Culkin, Joe Pesci and Daniel Stern, and directed by Chris Columbus. Williams builds upon his marvelous HOME ALONE score, giving the Yuletide saga of Kevin McCallister a festive and joyous, Big Apple spin that will have you smiling through the holiday season! Produced by Nick Redman and Mike Matessino, and mastered by Dan Hersch and Mike Matessino, this special release, limited to 3000 units, features exclusive, in-depth liner notes by John Williams historian Mike Matessino. Yesssss!
Other releases of Home Alone 2: Lost in New York (1992):
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text:
Planning for our future now
Jim Walker, director of sustainability for the university, kicks off the forthcoming Know series on multidisciplinary perspectives on sustainability.
By: Jim Walker
Our Campus Sustainability Policy defines sustainability as "societal efforts that meet the needs of present users without compromising the ability of future generations to meet their own needs," drawn from the classic Brundtland Commission definition, and continuing "sustainability presumes that the planet's resources are finite, and should be used conservatively, wisely, and equitably. Decisions and investments aimed to promote sustainability will simultaneously advance economic vitality, ecological integrity, and social welfare."
Today, sustainability is one of the great challenges facing Texas and the world. The University of Texas at Austin's brand "What Starts Here Changes the World," captures the idea that the university is able to make a greater impact in the areas of innovation and social and economic growth. The core values within our, or any, definition of sustainability can be found within the core brand of the university.
Sustainability in higher education is about broadening our critical thinking within all disciplines to routinely consider our society's natural resource needs and impacts, our ability to adapt to changing natural and societal conditions, our collective sense of humanity and social justice, and our impact on another's quality of life.
It's also about society's definition of return-on-investment and how much further that equation needs to reach to be useful to future generations.
We have become adept at talking about working to the benefit of future generations, but we struggle in our work with balancing the benefits we seek for ourselves with the benefits we desire for our descendants.
Universities across the country are beginning to delve into their business and academic models to target research and attract scholars who exemplify broader critical thinking about society's future concerns. While The University of Texas at Austin is early in its pursuit of campus-wide sustainability, we are poised to become a leader.
The University of Texas at Austin is investing in research on campus aimed at global energy challenges at the new Energy Institute led by Dr. Ray Orbach and the Thermal Lab associated with the School of Architecture. University researchers are also collaborating on a new solar installation on the Manor parking garage to utilize the array for testing solar technologies.
Recognizing student interest in sustainability in the classroom, the Provost's Office commissioned the Lady Bird Johnson Wildflower Center to develop an online database of all sustainability related courses, faculty, research centers and initiatives and degree plans available on campus. The directory is set to launch in March.
Dr. Jay Banner led an effort to establish a new bachelor's degree in environmental science to go along with existing graduate level portfolio degree plans in sustainability.
Over the last 15 years, The University of Texas at Austin has made over $140 million in efficiency upgrades to the campus central power plant, resulting in annual cost savings over $11 million and annual reductions in greenhouse gas emissions of almost 90,000 metric tons. Our campus power plant has won state, national and international awards as a model of efficiency.
Sustainability is a pursuit — for individuals, for institutions and for nations. With sustainability continuing to grow as a priority for prospective students, faculty and research funders, we should continue to strive to become a leader in all facets of sustainability.
I am excited about the opportunity to present university-related sustainability content in Know. Being the (still) relatively new director of sustainability for The University of Texas at Austin, the diversity in the concepts and implementation of sustainability on campus continually surprises me. I hope this series focused on perspectives of sustainability, encourages even more discussion and creative action.
This introduction was adapted from Platform, Fall 2010.
Articles in the Know January-February 2011 sustainability series:
Jan. 21 — Sunlight to clean hydrogen fuel
Jan. 31 — Oil past and present
Feb. 3 — Building a 'Green Star State'
Feb. 9 — Chillin' like it's 1977
Feb. 14 — Living Landscape
Feb. 19 — Sustainable building in a hot and humid climate


"Microneedling is a classic example of industry and technology getting ahead of the U.S. Food and Drug Administration (FDA), which happens quite frequently in industries with a high rate of entrepreneurial activity. Microdermabrasion products, such as rollers and stamps, have become some of the most popular treatments offered by medical aesthetic facilities and spas, because they offer the patient more youthful-looking, unblemished skin.
Many companies selling microneedling devices register their manufacturing and importing facilities with the FDA, and then list the devices as Class 1 dermabrasion accessory devices, which, in the vast majority of cases, is an incorrect device listing. Because the FDA does not review device listings–and device listing by a company does not mean the device is legal–many of these companies then claim their microneedling devices are "FDA approved." That is a false statement every time and in every instance it is made, no matter what company makes it. The FDA has never approved any microneedling devices.
Many companies claim their devices should be used with various topical cosmeceuticals, such as ointments, creams, lotions and serums, to assist the topicals in penetrating the deeper layers of the skin. Such devices are regulated not only as medical devices, but also as drug delivery systems and, depending upon the marketing claims used, the ointments, creams, lotions and serums most likely are unapproved new drugs.
Application (electronic, manual or mechanical).
The devices are frequently used alone, but are often marketed as more effective when used with topical products.
The FDA's authority to regulate a product as a medical device depends on whether the product is intended to affect the structure/function of the body or to be used for therapeutic reasons. Intended use is an objective inquiry, not a subjective one, and it is determined by examining the labeling, design, function and marketing for the device.
Based upon FDA Imports direct contact with the Center for Devices and Radiological Health (CDRH) at the FDA, it does not regulate microneedling devices when the needles are short enough to not puncture past the outer (dead) layer of the skin, and there are no offensive claims about the product, such as those regarding affecting the structure/function of the body. The FDA has determined that needle length should be no greater than 0.3 mm in length.
However, the FDA does regulate microneedling devices that have needles that will puncture the skin past the outer layer; that claim to affect the structure/function of the body; are for a therapeutic use; or are intended to be used as a delivery mechanism for topical cosmeceuticals.
The FDA has not "approved" any needling device. The firms that claim FDA's approval cite the fact that they have registered the device with FDA. Registering a manufacturing facility and listing a device simply requires paying a fee and submitting a form to FDA. The FDA does not review the registration or listing to make sure it is correct, and registration does not indicate FDA approval. It only means a company knows how to file paperwork. Claims that a needling device is FDA approved are false claims, as a matter of law, and are subject to enforcement action by FDA, FTC, state regulators and self-regulatory bodies, such as the National Advertising Division of the Better Business Bureau.
Though dermabrasion devices may be marketed as medical devices, the FDA does not permit companies to market needling microdermabrasion products as medical devices. In the FDA's opinion, needling microdermabrasion devices have a different technology, which presents new questions for safety and effectiveness. Thus, to be legally marketed as a medical device, the specific product must first undergo an FDA review and clearance, under the direct to de novo review process. The Pre-Market Notification process (known as the 510(k) clearance) is generally not applicable because there are no predicate devices. Thus far, no one has obtained the requisite clearance from the FDA.
Mr. England routinely represents domestic and foreign companies of all sizes, assisting them in identifying FDA, USDA, FTC, EPA, and state requirements. His representation enables his clients to better understand and fully comply with federal and state requirements, and thereby reduce the risk of regulatory interference with products being imported, exported, or distributed in interstate commerce.


Okamigami hasn't written much for the site, but is very supportive behind the scenes. Maybe one day we'll hear from him.
Adzuken is a video game gadabout — always seeking out the good, the bad, the obscure, and the interesting. She is constantly playing new titles or replaying old favourites.


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Property owners owning their asset here will never regret, as this is the place to be; crowded with all the fine educational institutions like Jai gopal Garodia national higher secondary school also known as (National School) Sri Sankara Vidhyalaya, Sita Devi Garodia and Zion Matriculation etc for providing fine quality of education.
So what are you waiting for?! Contact us to grab your deal before the inventory ends!


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https://www.thehour.com/norwalk/article/February-break-cut-March-day-off-a-full-school-8226956.php
February break cut, March day off a full school day as BOE works to ease schools schedule post-Sandy
By MATT COYNE
Hour Staff Writer
Published 2:45 pm EST, Wednesday, November 21, 2012
The Norwalk BOE hears from members of the public Monday night.
Photo: (C)2011, The Hour Newspapers, all rights reserved
NORWALK -- February break is out and school will be in session March 22, as the Board of Education takes steps to ease the scheduling crunch brought on by Hurricane Sandy.
"Option 2," as it was called at Tuesday night's Board of Education meeting, passed 8-1, cutting the February five-day weekend around Presidents' Day to three days by adding Feb. 15 and Feb. 18 back to the calendar. March 22, formerly a professional development day, is now a full day or school. The professional development will be made up at the end of the year. The remaining three days will have to be tacked on to the end of the school year to bring the total to six.
The first option included cutting February break, but would turn March 22 into a half day for students while keeping the professional development intact. Board members said a half-day creates issues for both parents and students.
"I'd like to know that the 39 weeks we have in the Norwalk Public Schools calendar, almost half of them, 16 total not including winter snow days, have at least one day off," said Sue Haynie. "It would be nice to have March 22 be a full day for students, it would add another week where students have five full days of school."
Steve Colarossi said there was "a real thought" that kids do not get much out of a half day and that it inconveniences working families.
Support for Option 2 was more tepid from other members, with Rosa Murray and board Vice Chairman Artie Kassimis citing concerns over professional development. Interim Superintendent Tony Daddona said at last week's board meeting that the city is in a bind with teacher training, with much of the time at the beginning of the year used to train personnel in the state teacher evaluation pilot.
Rosa Murray, who was replaced as Secretary by Heidi Keyes Tuesday night, supported the move because she saw few other alternatives.
"I support option 2, because the students come first," she said. "It seems our hands are tied in this situation, and our students come first, but certainly we have to take care of our teachers."
Before the vote Kassimis, who was reelected to his Vice Chairman position, said he was "torn between the two."
"Many, many years ago I was a corporate trainer and I know if you don't use what you learn, you lose it," he said. "My only fear is we spend all this money to train everybody and they're not going to use it for two months. We have to weigh where the benefits are."
Daddona, who said this winter would likely be rough, was not confident relief from the state mandated 180 days and 900 hours of school would come.
"(City officials) spoke to them I think last year or the year before when we had five days off, and they had not let us make up those," he said. "We've been asking, all the superintendents, and we've got no response."
Nov. 7 state Commissioner of Education Stefan Pryor said it was too early to address changes to the school year regulations.


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→Ennio Morricone, Oscar-Winning Composer of 'The Good, the Bad and the Ugly' and 'The Hateful Eight', Has Died at 91
Ennio Morricone, Oscar-Winning Composer of 'The Good, the Bad and the Ugly' and 'The Hateful Eight', Has Died at 91
When you picture a western stand-off on the big screen, it's very likely that you can't help but hear the opening notes of the theme from The Good, the Bad and the Ugly.
The sound of a flute and ocarina resemble the howl of a coyote before you hear that famous three-note melody from a […]The post Ennio Morricone, Oscar-Winning Composer of 'The Good, the Bad and the Ugly' and 'The Hateful Eight', Has Died at 91 appeared first on /Film.
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In the past decade, there have been a number of successful and praised dramatic TV shows and movies led by actors with a comedy background, from "Breaking Bad," to "Uncut Gems." Given how much critics and audiences were campaigning for Adam Sandler to get an Oscar nomination for his role in the Safdie Brothers' film, […]
Warner Bros. Pictures is shaking up the theatrical release model this year by releasing their entire movie slate simultaneously in theaters and on HBO Max for a limited time. Wonder Woman 1984 was the first to try out this strategy, but the studio wanted to take it much further by sending movies like Godzilla vs. […]
Ben Affleck is done keeping quiet about his feelings on comicbook movies. He's been open about why he took on the Bat-cowl, and now the actor and filmmaker praises Marvel head honcho Kevin Feige as "the greatest producer." Now, someone replace Hugh Jackman for Feige in "The Greatest Showman," pronto.Read More: Ben Affleck Talks Alcohol […]
While 2020 forced many of us to rely on streaming more than ever before, due to cinemas shutting down, physical media remains both relevant, and the best way to acquire and watch films. This is to say that the monthly release announcements by The Criterion Collection are always worth being excited about, and April 2021 […]
The second season of TNT's "Snowpiercer" improves on the lackluster first year by giving the show a much-needed antagonist and opening it up in terms of world-building and depth of character. Having said that, it still succumbs to a serious midseason sag in terms of momentum and increasingly feels like a transitional piece of the […]
Trailers are an under-appreciated art form insofar that many times they're seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: What better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? This week, […]
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It's been over a decade since James Cameron introduced us to Pandora with the first "Avatar," and we are still waiting for the first of four sequels to come out. With no trailer on sight, we'll have to make do with Marc Maron and Kate Winslet describing their experience with the massive sets built for […]
First of all, for the love of God, do not read this story or watch the video unless you've seen Emerald Fennell's "Promising Young Woman." Just stop now — unless, of course, you love spoilers, in which case… go forth.In "Promising Young Woman," Carey Mulligan plays Cassie, whose childhood best friend, Nina, was raped during […]
The upcoming HBO series adaptation of "The Last of Us" just got a whole lot bleaker. "Beanpole" director Kantemir Balagov has reportedly been tapped to direct the pilot for the upcoming adaptation of the popular post-apocalyptical adventure game.Read More: Sony Pictures CEO Teases A Wave of New PlayStation Film & TV Projects Beyond 'Uncharted' & […]
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For over two centuries, the Château de Plassac has built a reputation of fine Cognac producer from grapes grown in the property's own vineyards, located at the boundary between Fins Bois and Bons Bois. The entire production process, from the harvest to the distillation in the original Alembic and the maturation are carried out within the property's walls, which provides a slightly higher temperature than anywhere else. The combination of calcareous soil and warm oceanic climate enriches the white grapes which will later become a unique Cognac with an exceptional fullness on the nose and palate.
With its own Ugni Blanc and Colombard vines, the Chateau de Plassac produces two exquisite Cognacs, the 12 year old Napoleon and the 17 year old XO.


Ohio contains a range of companies that can help provide stairlifts.
Cleveland Stairlifts provides a range of stair lift options to customers in and around the Clevaland, Ohio, area. These include stair lifts for indoor and outdoor locations. Stair lifts can be provided with a 180 degree wrap position at the foot of the stairs, which allows easier access for able-bodied people to climb a set of stairs without the stair lift becoming an obstacle.
Northcoast Mobility provides stair lifts and a range of other mobility products to the Northcoast area. Stair lifts are offered from among the Acorn range of products. Features include joystick operation, fold up seats and option of installation to indoor or outdoor stairs. The company offers a service to re-install stair lifts to owners' new homes if they need to move house.
Custom Home Elevator and Lift Co includes stair lifts among a selection of home lift products such as elevators, wheelchair lifts and dumbwaiters. Stair lifts can be fitted to straight or curved stairs. And they are also available for outdoor installation. They can be fitted to accept weights of up to 400 lbs. Dumbwaiters can be installed to both residential or commercial premises and offer a means to move bulky items between floors without the need for someone to carry them.


In this lab, you continue to explore Google App Engine using the Bookshelf sample application. You deploy a new version of Bookshelf that uses Google Cloud Storage to store book image covers. You deploy the application to App Engine, and then you test it in your browser. You then review an uploaded object in Cloud Storage using the Cloud Platform Console.
In this lab, you integrate Google Cloud Storage into the Google App Engine Bookshelf sample application. You continue to use Google Cloud Datastore to store structured data for books. You use Google Cloud Storage to store book cover images, using both storage services side-by-side.
Google Cloud Storage offers developers and IT organizations durable and highly-available object storage. Applications typically require access to a variety of storage systems for different types of data. As you observed earlier in the course, storage services such as Cloud Datastore are designed to handle more structured data requirements. Other types of unstructured data, including images, video, and audio with much larger file sizes, are typically stored as Binary Large Objects (BLOB), and Cloud Storage is an ideal fit for this type of requirement.
Google Cloud Storage includes support for a JSON RESTful API, in addition to a variety of other access methods. Developers building applications for the standard App Engine Python environment can make use of a dedicated Cloud Storage client library, that greatly simplifies accessing the service. The version of Bookshelf used in this lab makes use of this client library and you review a code sample before deploying the application to App Engine. Later in the course, you deploy alternative versions of Bookshelf to Google Container Engine and Google Compute Engine, that make use of the Google Cloud Client Library for Python.
The following diagram illustrates the high-level components and resources that make up the version of Bookshelf you deploy in this lab.
When you store data in Google Cloud Storage, you choose a storage class and location to find the right balance of availability, latency, and price for your data. Once you choose a class and location, you organize your data in containers called buckets. Buckets store the data (blobs) you upload.
The structure of data in Cloud Storage looks like the following.
You can create and manage multiple buckets within a project, and each bucket you create shares a global namespace (it must be globally unique). When you create a bucket, it cannot be nested inside another bucket.
The objects you upload to Cloud Storage are comprised of data and metadata. Metadata is used to control how the data is accessed (via GET requests). When you upload objects to Cloud Storage, they cannot be nested.
Before deploying your application, you create a Google Cloud Storage bucket to store the book cover images. You also review the code that accesses Cloud Storage from your App Engine application.
Open the Google Cloud Platform Console, and if necessary, select the cp100 project.
In the top right corner of the console window, click the Activate Google Cloud Shell button ( ).
To make use of Google Cloud Storage from App Engine, you first need to create a bucket that is used to host objects containing the book cover images. It is possible to create buckets using the relevant APIs, but as this is a one time operation, you use the command line to create the resource. You could also carry out the same operation using the Cloud Platform Console.
In this step you use the gsutil command to create a bucket. This command is included in Cloud Shell and can also be installed as part of the Cloud SDK. The mb command is used to make buckets. Notice that bucket names begin with the gs:// URI prefix.
Type the following command in Cloud Shell to create a Cloud Storage bucket with the same name as your project ID. Specify the location for your bucket using the -l flag as indicated below (the flag is a lowercase L, not a number one). Available location options are ASIA, EU, or US. You should create the bucket in the same region as your App Engine application. You can find the location of your application in the top right-hand corner of the App Engine Dashboard, by visiting Products & services > App Engine in the Cloud Platform Console.
The shell variable $DEVSHELL_PROJECT_ID can be used to refer to the project ID of the project used to start the Cloud Shell session.
For example, if you are running App Engine in Europe, then the command would read as follows.
The output confirms that the bucket is being created.
To learn more about your choices for locating buckets, see the Google Cloud Storage documentation on bucket locations.
The version of Bookshelf used in this course does not include any authorization or authentication controls for the book data added by users. For the sake of this simple illustration, any images uploaded when adding details for a book should be publically visible by anonymous users.
In this step you use the defacl command to give AllUsers read access to your bucket. Type the following command to configure the default ACL for your new bucket to ensure all new objects are publically readable.
The output confirms that the default ACL is updated.
You also need to configure the source code for Bookshelf with the name of your new bucket before you can deploy it to App Engine.
Return to the Cloud Platform Console and click Tools > Source Repositories > Source Code.
This file is used to set configuration data specific to your copy of Bookshelf in this project. Settings related to Cloud Storage are located on lines 47 through 49. The settings include the name of the bucket you created for this lab, as well as the list of supported file extensions for Bookshelf.
Later in the lab, you use a command line tool to modify this file with the value of your bucket name.
Before you deploy your code, it is useful to also inspect the new code that relates to the new book cover features you test in this lab.
The code for this version of Bookshelf remains largely unchanged from the one you previously uploaded to App Engine. Most of the code relating to integrating Cloud Storage with App Engine can be found in a single file that you inspect next.
Click cloud-storage > bookshelf > storage.py.
This file includes a number of methods that relate to uploading images to Bookshelf, including checking against a whitelist of allowed filename extensions for popular image formats. It also generates a unique time-stamped name for the new object as you observe later in the lab.
Note: You can find a list of the allowed file extensions in config.py.
There is one last file you should investigate.
Click cloud-storage > bookshelf > templates > list.html.
The HTML template files provide the browser with the direct links to images hosted on Cloud Storage. As you observed in the previous step, once an image has been uploaded, the Object URI is returned by upload_file(). On lines 31 through 35, this template file checks if a Book entity has a valid imageUrl property and retrieves the image from your bucket. If no imageUrl is found then a default value is used on line 34.
Notice that this default URI points to the same Cloud Storage bucket used to download the sample images. This URI format is the same as the URI stored in Cloud Datastore (once you upload an image when creating a new book entry). You might like to review the HTML source code in your browser to see how the URIs appear (once you add additional books with sample covers).
Leave the Cloud Platform Console and Cloud Shell windows open.
Install all required third-party libraries and dependencies to the local clone of your repository in Cloud Shell. Deploy the application to App Engine using the Cloud SDK.
Return to Cloud Shell and type the following command to change to the directory containing the code for this lab.
Type the following command to replace the bucket name placeholder in config.py with the value of your project ID. The text 'your-bucket-name' in the command refers to the text the command will replace.
sed is a Unix command-line utility that can transform text. This utility is pre-installed in Cloud Shell.
There is no output for this command.
As with the previous deployment of Bookshelf to App Engine, you also need to install a number of libraries that the Bookshelf application uses.
If you would like to see a list of the libraries you need for this lab, type the following command to view the contents of the requirements.txt text file.
The file lists package names and version numbers that you install in the next step.
Note in particular that this version of the application makes use of the GoogleAppEngineCloudStorageClient package. This client library simplifies integrating App Engine applications with Cloud Storage as you observed earlier in the lab when examining the code for storage.py.
Type the following command to install the packages and dependencies required for this lab into the lib directory.
The output displays the progress of the installations.
You are ready to deploy the code for Bookshelf to App Engine. Once again, you use the gcloud utility to manage your App Engine application. Type the following command to deploy the application.
Type Y and press return.
The output displays the progress of the deployment.
Bookshelf is built using the third-party Python Flask Microframework, that is not covered in this course. For more information about Flask, please refer to the Flask project website.
Type the following command to quit Cloud Shell.
Leave the Cloud Platform Console window open.
Generate some simple test data in the Bookshelf application, including a sample cover image, to verify that it is working as expected. View the resulting Cloud Storage test object using the Cloud Platform Console.
Open a new tab in your browser and visit your Bookshelf App Engine application.
Try to work out the URL for the application yourself. If you need help you can find the link in the top right-hand corner of the App Engine Dashboard in the Cloud Platform Console, under Compute > App Engine.
As this version of Bookshelf includes support for uploading book covers, you need some sample images to use when testing the application. You can download a ZIP archive containing all of the sample images for this course using the following button. You will need to unzip the archive to upload the image required in this lab.
Alternatively, you can find a link to the specific image you need for this lab in the relevant step below.
You may, or may not see existing book details in the bookshelf, based on any previous labs you may have completed earlier in the course.
For Title, type CPD200 Developing Solutions for Google Cloud Platform Study Guide.
For Author, type Jane Doe and John Smith.
For Date Published, type today's date.
For Description, type A companion study guide to the CPD200 course.
For Cover Image, upload the file, cpd200cover.jpg.
Note: The link above can be used to retrieve the specific image for this step.
A page loads with the details you recorded for the new book, in addition to the sample cover image.
Return to the Cloud Platform Console browser tab and click Storage > Storage.
The Cloud Storage Browser loads.
Click the name of the bucket you created to host book cover images. Recall from earlier in the lab that this name is the same value as your project ID.
You are presented with a list of objects in this particular bucket. You should currently have a single object in the bucket with the following name format.
You can also see other details in this view relating to objects, including their size, type, and modified times.
Optionally, if you want to view the image in your browser, you can click the name of the object and it will load in a new tab.
There is no need for you to remove the resources used in this lab.


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Sports 2009-2010 NHL Season Preview and Predictions – Eastern Conference
2009-2010 NHL Season Preview and Predictions – Eastern Conference
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Bet the NHL at Bdg
By UltimateCapper.com Contributing Writer, Mike Ivcic
After two years of Penguins-Red Wings, it might be that the sun is finally dawning on a new day in the NHL. No, Pittsburgh isn't going to fade away and collapse, and for that matter, neither will Detroit. That said, this could be one of the best Eastern Conferences in years, with at least seven teams entering the season thinking they can reach the Stanley Cup finals with a realistic vision. Rather than go team by team, this preview will throw out some small nuggets of facts and then lay out a prediction for the season. I was about 50-50 with baseball back in April – let's see if October is any kinder.
One of the biggest things about a new season is discovering all of the moves every team made and who was signed and traded. For starters, a handful of acquisitions standout, so let's get into those now:
An interesting aspect of this offseason specifically was the trade for defenseman Chris Pronger by the Flyers. The move will certainly help the backline, but this is a team that's in a stacked division that still lacks the one crucial component to a championship – a discernable, bonafide number one goaltender. Martin Biron is good and signing Ray Emery was smart, but neither is outstanding, and the Flyers are in a division with possibly the best goalie ever (Brodeur), a gold-medal winner (Lundqvist), and now a Stanley Cup champion (Fleury). Sure, they will score in bunches, but this franchise has yet to figure out that in order to win a Cup in the modern NHL, the single biggest factor is goaltending, and until they do, they'll be a good, but not great, team.
Another deal that just recently developed was Boston shipping Phil Kessel to Toronto. Fans and management in Boston both seemed to feel as though something was missing from the extremely talented Kessel, so much so that they elected to trade him to a division rival. The flip side is that Toronto is clearly in rebuilding mode, and a player like Kessel brings youth and excitement to a team that has lacked both in the past. For the Bruins, it shouldn't be hard to fill the void offensively, and the haul of picks they received in return should help keep them at or near the top of the Northeast for a while.
One big storyline this entire season and into the next postseason will be how the Capitals respond to a Game 7 blowout in the semifinals to Pittsburgh. Adding Mike Knuble, who played a major role in ending the Capitals season TWO years ago while with the Flyers, is a great addition. Like Philadelphia, though, the biggest question mark is in net. Semyon Varlamov played extremely well in the postseason as a totally raw rookie, but Jose Theodore is virtually useless as a backup after his confidence was complete shot. If Varlamov can prove himself to be at the same level as Fleury in Pittsburgh, this team is the best in the East. If he's not, they'll be lucky to even win the division.
A number of other storylines about this season – a number of questions that everyone will be asking. Here are the most common 5, along with my own personal response.
1. Can the Pittsburgh Penguins repeat as Stanley Cup champions?
In a word, no. The East is too tough and there's too big of a target on their backs. They will likely win the Northeast but look for a second round exit.
2. Will the New Jersey Devils continue their amazing run of success?
It depends on the definition of success. They'll make the playoffs, yes, but the attrition has been too much over the years for them to beat three or four top tier teams to win another Cup.
3. Are the New York Islanders the worst team ever assembled?
It's tough to call any team the "worst ever" before a season starts. That said, if there was ever a team poised to take a run at that label, this might be it.
4. Will either team make the playoffs from the Sunshine State?
In a division with Washington and Carolina, it will be difficult for either Tampa Bay or Florida to finish second, meaning they'll likely have to squeeze in as the seventh or eighth seed. It's possible, but more likely for the Panthers than the Lightning.
5. Who will win the East?
And that brings us to our preview:
NY Rangers (4)
NY Islanders (15)
The defending champs are the best team in the division, and any time that happens they get the division in the preseason. The three teams behind the Pens should all make the playoffs, especially with more games against the Islanders than the rest of the conference. Look for the Rangers to be better than Philly based on goaltending, though it'll be a great race.
Northeast Division
Montreal (10)
Ottawa (12)
Sure, it might look like I just ordered the teams alphabetically, but that's also how I see them stacking up. Boston is a cinch for the postseason, but should be pushed at least somewhat from both Buffalo and Montreal, but only the Sabres will join the B's in the playoffs. Likewise, the two Ontario teams will miss out, once again leaving hockey's hotbed without a championship contender.
Tampa Bay (11)
Atlanta (14)
As mentioned above, the Caps are the most talented team in the division, and should beat out the Hurricanes for the top spot. Florida is close but just doesn't have what it takes to beat out New Jersey or Buffalo – yet. Ditto with the Lightning, but they'll beat out Atlanta, a team still trying to recapture the magic from their one good season.
Pittsburgh over New Jersey
Washington over Buffalo
Philadelphia over Boston
NY Rangers over Carolina
Philadelphia over Pittsburgh
Washington over NY Rangers
Washington over Philadelphia
So the answer to question number five – the Washington Capitals.
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