text:
Having started his broadcasting career on radio, Craig is an experienced TV presenter being the host of the biggest film premieres shown on SKY Cinema.
More About Craig
With his high profile in the film world, Craig has interviewed some of the highest profile screen megastars such as Brad Pitt, Daniel Craig, Meryl Streep, & Michael Fassbender.
Craig moved from London to Essex at a young age and always knew he wanted to be in the entertainment industry.
His early career was in radio, but he soon realised he wanted to be on camera and, despite having little experience of presenting, was given a daytime quiz show on Channel 5!
From there he went on to be one of the presenters of The Mint on ITV and, with his love of films he got the dream job of reviewing movies and interviewing stars for Sky Movies, Channel 5 and ITV.
In 2016 he became a showbiz presenter on Channel 5's live Saturday morning magazine programme The Saturday Show and occasionally appears on ITV's Weekend. In 2016 he presented When Gameshows Go Horribly Wrong on Channel 5.
He also hosted the Global Premiere in Paris of Mission Impossible Fall Out
Presenter on Sky One DC Greatest Moments A contributor on C5 Most Shocking Celebrity Moments
Sam is a broadcast journalist being a regular on ITV's This Morning, E! Capital FM and SKY...
Rebecca is a TV presenter, journalist and author. Rebecca has written two books on cycling with Bloomsbury...


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Climate policy operators
Monitoring and reporting of greenhouse gas emissions
Protecting the ozone layer
SYKE's Policy Briefs at the core of climate policy
News 2021-10-26 at 15:42
Researched information on climate change should be used to plan fair and efficient climate policy, may that be regionally, nationally, or globally.
This researched information can be found on Finnish Environment's Policy Briefs that offer a concise summary of a particular issue, policy options for it and recommendations. Multiple of the Policy Briefs deal with the issues of climate change.
Municipalities play a significant role on climate change mitigation
Municipalities are key actors in climate change mitigation, and they have multiple different actions they can take. Two of SYKE's Policy Briefs, "Sustainable future is built in municipalities" (published only in Finnish) and "Taking a broader view in decisions on land use", present ways that municipalities can lower emissions. Two examples of the actions are infrastructure planning and citizens' opportunities.
Municipalities can mitigate climate change by planning to use land efficiently and compactly. Efficient land use is important since shorter distances promote carbon neutrality. Municipalities should coordinate with each other how to use land so that the whole region's land use is efficient. When planning land use municipalities also need to take into account nature areas, flood risks, buildings' life cycle emissions and sustainable energy production.
Another notable way to promote carbon neutrality is by supporting citizens' possibilities to choose sustainable choices in their everyday life. The choice to live sustainably needs to be made as easy as possible. For example, municipalities need to offer possibility for citizens to move without a car, and this is where efficient land use planning comes into the picture.
Nutrition as a way to mitigate climate change
The Policy Brief "Environmental impacts need to be taken into account in nutrition recommendations" suggests, that national nutrition recommendations must include both nutritional and ecological sustainability. This is important since increasing the proportion of vegetables, legumes, and fish in the diet helps to tackle climate change.
The environmental criteria for food must be based on science and open public data. The criteria would create common guidelines for different actors, such as municipalities. Based on the criteria municipalities could set clear responsibility for public procurements and services.
In addition to updating nutritional recommendations, the agricultural subsidy system and environmental regulation need to be updated so that it supports the production of food that is both environmentally and nutritionally sustainable.
Ecological compensation goes hand in hand with climate change mitigation
The Policy Brief "Ecological compensations are worth taking into use" explains the meaning of ecological compensation and why it is important. One of the many reasons why it is important is that it can be a way to mitigate climate change.
With ecological compensation the local damage caused by construction or industry is balanced by improving biodiversity elsewhere. Ecological compensation should be used in situations where damage inflicted on nature by humans cannot be completely avoided. Ecological compensation is never the first option, but it should be used when there is no other way to avoid the harm on nature.
The principle is that the compensation is paid by the one that causes the damage. Now legislation is needed to create rules for the compensation and to keep the compensation practices transparent.
Ecological compensation can and should be used to slow down climate change whenever possible. For example, letting old-growth forests to grow can be a compensatory offset, which benefits both natural diversity and climate. Aging forest offer a home for many endangered species and at the same time the forests store a relatively large amount of carbon thus serving as a carbon sink.
Reducing black carbon emissions is an efficient way to mitigate climate change
The Policy Brief "Curbing black carbon emissions slows warming in the Arctic" has a very clear message: although the most important way to mitigate climate change is controlling greenhouse gas emissions, black carbon emissions must also be reduced. Black carbon is emitted from burning of wood, other biomass and coal by households, road traffic, machinery, industry, and power plants. It is also formed during forest fires and flaring, i.e. burning on unutilized natural gas and oil at oilfields.
The payoff of reducing black carbon is fast unlike with carbon dioxide, since black carbon remains in the atmosphere for only a short period of time. Thus, any measures taken will have a rapid and positive effect. Black carbon emissions can be reduced efficiently by using the best available technical solutions and setting tighter emission restrictions.
Mitigation in a nutshell: 10 examples from SYKEs Policy Briefs
Municipalities need to plan land use in climate friendly way
Nutrition recommendations must include ecological sustainability
Ecological compensations must be planned together with climate change mitigation
Black carbon emissions should be lowered for a quick positive impact
All economic activities should be based on circular economy
States and municipal authorities must set tougher goals for reducing emissions
The use of energy should be reduced through taxation
Public investments on housing and transport need to be directed towards carbon neutral solutions
Companies' everyday activities must be responsible and transparent
Information on companies and their products need to be made available for consumers
Since 2014 SYKE has published Policy Briefs that offer a view on some important environmental topic. The Policy Briefs are always based on research and they are targeted to policy makers and experts.
The examples presented here are just a few examples of climate change mitigation and of the findings of the Policy Briefs. The Policy Briefs in whole can be read down below.
Read the Policy Briefs here:
Sustainable future is built in municipalities (in Finnish)
Environmental impacts need to be taken into account in nutrition recommendations
Ecological compensations are worth taking into use
A future the planet can accommodate
Curbing black carbon emissions slows warming in the Arctic
climate,
mitigation,
climate policy,
greenhouse gases,
Support for climate policy
Feedback for the person in charge

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redpajama_set_name: RedPajamaGithub


Please note - Wireless transceiver is compatible with all Eos Pro Series products. Transceiver is not compatible with products from the Eos Wireless consumer site.
The EOSP-610 offers any installation great flexibility by making any audio product wireless. In receiver mode, it can be used to send line-level audio from one location to another, then amplified and played through traditional speakers. In transmit mode, it can send audio from any source to the EOS wireless powered speakers (EOSP-622) or to another EOSP-610 transceiver in receive mode. Supports up to 12 wireless speakers/receivers when in transmit mode.
Click the button below to add the Eos Dual Zone Transceiver (Receiver/Transmitter) to your wish list.


Those who have a tablet, smartphone or mobile device have used an app at least once or twice in their lifetime. Today, there are apps developed for playing games, getting directions, news, weather and other information. According to reports, consumers downloaded approximately 11 billion apps in 2015 alone.
While apps make the use of your smartphones more exciting, not all are created equal with no cost attached. In reference to this, Jovago.com, Africa's No 1 hotel booking portal rolls out 5 things to know before downloading an app.
One of the best ways to determine if you can download an app is to read the review of other persons that has downloaded the same applications. Depending on the responses whether positive or negative, you can decide on whether that application is for you. If there are more positive reviews, you can download and vice versa.
Some apps usually consume more mobile data than others especially if you are intent on cutting down your data usage in the new year. So, before you download; check the data usage of the app. If your app is good for download, you can adjust the setting to stop real-time notifications.
There are a number of applications that clearly state that it is free. But after downloading, you will discover that it is the limited version that you are given. Meanwhile, to access the full version, you will be billed. Even the free applications are usually littered with adverts.
Privacy should not be a problem when it has to do with downloading apps. However, there some apps that access your information like phone and email contacts, call logs, device location and other unrelated data. This may probably lead to your account been accessed by hackers.
While most apps are pre-approved before being added to an app store, hackers have created apps that can infect smartphones and tablets. Be cautious when downloading apps and be sure to use a reputable app store or website to download.


Finch Landing is a subdivision within the city of Jefferson, Georgia. There are currently 8 Homes for Sale within Finch Landing, with asking prices ranging from $262,000 to $325,000. The average list price per square foot of the available inventory in Finch Landing is $107, which is below the Jefferson average of $163. The Average Sales price of all sold real estate in this subdivision for the past year is $262,027. Recent comparable homes have been selling for 40.01% of their asking price. Waterfront homes represent 0.00% of the available Finch Landing inventory. The population of Jefferson, according to the 2010 Census, is 9,432. The total number of households in the zip code of Finch Landing is 7,817, with an average household size for of 2.82 people. The total number of renter households within the zip code of 30549 is 1,592, which means that 79.63% of households in this zipcode are owner occupant households.
336 Finch Way, Jefferson GA 30549 is a Home, with 4 bedrooms which is recently sold, it has 2,116 sqft, .51-1 sized lot, and Attached,Garage parking. A comparable Home, has 5 bedrooms and 4 baths, it was built in and is located at 42 Thrasher Ln Jefferson GA 30549 and for sale by its owner at $ 264,900. This home is located in the city of Jefferson , in zip code 30549, this Jackson County Home, it is in the Finch Landing Subdivision, and Andrews Walk are nearby neighborhoods.


Arlington Arts is now accepting submissions for its first "How To" Video Festival featuring screenings of instructional videos that are informative and entertaining. Makers, artists, amateurs and professionals of all types are encouraged to create and submit videos on any subject that teach, inform and entertain.
This call is open to residents of Virginia, Maryland and Washington, DC aged 10 years or older. The call is open to amateurs and professionals alike.
Limit of one entry per person or group.
Participants under 18 years of age will be required to provide written parental consent.
Videos will be juried by Arlington Cultural Affairs New Media Curator Paul Shortt with special guest juror, Gareth Branwyn. Branwyn will also present a $250 Best Video Prize provided my LMO. A People's Choice Award of 3 months of membership and two classes at TechShop DC-Arlington.
There is no fee to submit, but all videos must be 5 minutes or shorter.
The "How To" Video Festival will take place on November 12, 2016 at the Spectrum Theatre: 1611 N. Kent St, Arlington, VA, 22209 from 12-3pm. Admission will be free.
Please see full contest rules here and apply now!
Flash a Light on Homelessness is a subsidiary competition of St. Vincent de Paul of Baltimore's Flashlight event. This is a skill-based juried competition.
In a world desensitized by the visual imagery of the plight of homelessness, we challenge you to capture the story, cultivate the emotion, and convey the issue through your lens. We are calling photographers, professionals, and novice, to enter our 2016 Photo Contest.
There will be one winner. The prize is valued at $1,500. There is a $500 cash prize, and the opportunity to be hired as the official paid photographer of the event OR photography equipment.
Please visit our website to learn more about Flashlight, an all-night sleep out event on Saturday, November 5, 2016 on the infield of the Maryland State Fairgrounds that challenges individuals and teams to sleep out and raise awareness and funds to help Baltimore's homeless.
Entry Deadline: October 1st, 2016.
Please visit their website to apply, terms and conditions and for more informaiton.
A brief interview with 2016 Open Studio Tour artist: Michelle Dickson.
Michelle Dickson in her studio.
I work in sculpture and drawing simultaneously, allowing them to inform each other, investigating the same concepts in distinct ways. From the moment they are created, they have both a physical presence and a growing absence, simultaneously existing and deteriorating in form. There's an ephemeral aspect to it. It's fragile—like memory. My drawings incorporate both collage and printmaking. My sculpture is formed from a combination of found natural materials like driftwood along with plaster, wax, and oil paint. Using layers, I allow some details to come through while others are obscured and buried. I work intuitively without much pre-planning: I make something and respond to it, adding on and then taking away, building up and concealing. I'm comfortable taking risks and never let the fear of ruining something stop me from experimenting. This is combination of curiosity as well as a desire to confront and accept uncertainty, which is a core idea expressed in all my work.
I've been really enamored with using found wood in my work. I get a lot of inspiration from nature- the patterns, textures, and colors- the growth and decay. The wood that I ultimately choose to take to the studio strikes me as found sculpture. They have a beauty and presence that I could not create on my own. I never take something living, only what is already at the end of its life cycle. I'm attracted to the idea of taking something that has been alive, that has been through its own cycle of birth, growth, and death, and giving it a new life in a sculpture. I like what the history of the wood brings to the work visually and conceptually. I'm seduced by the grain of the wood- how it undulates when carved, and enthralled by the contrast of smooth sanded grain next to untouched areas of rough bark.
I use a lot of different materials and blend them together in unexpected ways. I like to blur the line between where one material stops and another starts.
I love the warmth and openness of the art community in Baltimore. It's a very welcoming city for an artist.
I just moved into a new studio and I'm excited to have people in my new space.
Check out Michelle Dickson's studio in Suite 19 of Parkdale Building 1, located at 3500 Parkdale Avenue! Her studio will be open to visitors on October 8, 10am-6pm & October 9, 10am-3pm.
Curators Deirdre Ehlen MacWilliams and Vikki Tobak invite you to submit artwork available for purchasing to be included as part of the Conway Center, a facility currently under construction in Ward 7, that will offer homeless and low-income women, children and men safe affordable housing, job training and health care, all in one place. The entire project is funded by So Others Might Eat (SOME), an interfaith, community-based organization that exists to help the poor and homeless of our nation's capital.
Submit up to five (5) artworks for purchase to be incorporated into the art collection at the new Conway Center. This is a juried process and all artworks must be reviewed and approved by SOME. Submission does not guarantee inclusion into the collection.
Application and all project details can be found here: https://goo.gl/forms/9Ye0wyRngoimy9Y73.
Anyone and everyone can be a participating artist at Artomatic@Baltimore.
If you would like to show your artwork at Artomatic@Baltimore, all you need to do is register to secure a space to feature your work.
There is a $100 fee for visual artists at Artomatic@Baltimore. This fee helps us organize the event and make it awesome for everyone involved. At the time of registration artists are required to sign up for three shifts at Artomatic@Baltimore — a total of 15 hours.
Musicans and performing artists please visit this link to register.


text:
about & about
140 characters or less
There are Black AIs/Cyborgs/Replicants in the Present.
Posted on June 12, 2022 by tropigalia
Original photo and rights to Lina Iris Viktor.
I am both disenchanted and wiped out from the Twitterverse. My physical and mental exhaustation is not Twitter's alone nor is it large – post-job market, post-dissertation defense, and post-graduation, my body (particularly my lower back) is in deep recovery from successfully living and pursuing an academic life. I care for myself by being care-free: visiting friends or chatting with them on the phone, journaling, checking out and reading comic books, fiction, or non-academic non-fiction from my public library, going on dates, taking walks and exercising, and sleeping for how long I want and waking up whenever I want. I am restoring myself in pleasure and joy.
I have taken social media breaks before, and I was overdue for a Twitter break anyway. But in the context of all of these life-changes, I needed to step away from Twitter in particular. Unlike my (private) IG or Facebook, my Twitter has shifted from being a place to chat with my friends and laugh at internet jokes to being a profile of my academic digital self. As a graduate student, this was somewhat of a fraught space, ranging from peer surveillance (i.e. "are my colleagues judging me?") to navigating the floods of job market anxiety and despair. But now that I am stepping into a new position, how I embody that space is even more fraught.
Or, at least, the Twitter space I temporarily left is fraught. Despite previously hearing about social media etiquette from senior academics, there is not a day on that site where the opposite doesn't occur. Almost every week there is some scandal of "professors behaving badly" or punching down on folk lower in the academic hierarchy (i.e. contingent faculty, graduate students, undergraduate students, staff, etc). Twitter's algorithms, especially when the feed isn't set on "latest tweets," encourages us to see mess that may be humorous or (increasingly) makes us angry. We are also living in a time of artificial precarity induced by systems that abdicate their responsibility to us, rising fascism, environmental collapse, a likely recession, (for those of us in the US) quotidian gun violence, and so on. We look at a digital mirror, which presents to us our Age of Anxiety and Paranoia. We feel intensely, and those who have the chainmail armor of seniority, status, and the cavalry to protect may be more at ease to punch down more often. My job transition sparks curiosity and reflection on how I want to show up as a professional, scholar, educator, and human in both the analog and digital. The State of the (Academic Twitter) World doesn't.
"The Internet is a black woman, and we know this because we say we resent it, but we depend on it."
Namwali Serpell, "Black Hole" in the New York Review (Published on March 26, 2021)
I do log into Twitter occasionally to browse through my bookmarks (I am a Virgo Jupiter + rising), and I catch sights of my feed. I saw a tweet that was in response to a news story about Google firing a whistleblower who contends that the company's AI may be sentient. The tweet, which I am paraphrasing, said that AIs would easily gain rights and reinforce Black folks a sub-human category. But when I read it, I thought, what is to say that there are no Black AIs right now in the present? Or that AI could not easily join/or is not currently in a similar category to Blackness in the West, expendable, popular, mishandled, and superficially celebrated? These are my fleeting, undeveloped thoughts, for which I am sure many Black digital humanists and specialists in AI ethics and development have already answered or are theorizing. I connect my Black femmehood in part to the site of the cyborg, replicant, clone. Where womanhood was alien and felt impossible, the Rachaels, the Rei Ayanamis, the Hotaru Tomoes, the Motoko Kusanagis of sci-fi and anime were comforts and possibilities to be. None of them were Black, but that is a failure of imagination, not of reality. I believe Black AI are from the future, and they are already here. See also,
Related Directions:
🌙 Cassandra Osei, "Presumed Behemoth," Doll Hospital Journal no. 3 (2016): 16 – 24.
🌙 Alexandra Thomas, "Black Millenial Femmehood: Qualeasha Wood," Mousse 80 (May 30, 2022).
🌙 Jessica Marie Johnson and Kismet Nuñez, "Alter Egos and Infinite Literacies, Part III: How to Build a Real Gyrl in 3 Easy Steps," the Black Scholar 45, no. 4 (2015): 47 – 61.
🌙 Janet Jackson, "Interlude: Online" (0:18) and "Empty" (4:32) on the Velvet Rope (1997).
🌙 mooncrisis, "Space Babe Styles" moodboard.
Cassie. 30. PhD. Historian of Latin America, African Diaspora, and Brazil. Educator. On the low femme theory. Vibrant Thing. Daughter of the Internet. Jorge Ben Jor stan. This is the Great American Blog™.
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Globinmed - Mirabilis jalapa Linn.
Mirabilis jalapa is a member of the Nyctaginaceae family. It is an erect herb reaching up to 1 m tall. The leaves are simple, cordate, 3 – 12 cm long, with acute. The flowers come in red, pink, yellow or white, bisexual and they bloom in late afternoon. The fruits are black and globose 5 – 8 mm in diameter.
Severe gastro-intestinal distress in children which causes vomiting, diarrhoea and abdominal pains. Handling of roots may cause dermatitis in sensitive individual.
Initial treatment includes gastric lavage and emesis is recommended to remove as much of the offending substance as possible. Treatment of symptoms as they appear and provide supportive therapy in the form of fluid replancement.


Minister for Finance Michael Noonan and NTMA CEO John Corrigan at the NTMA's Annual Report for 2012 launch today.
THE CEO OF the National Treasury Management Agency (NTMA), which oversees Ireland's national debt, said earlier today that Ireland is "fully funded" for next year and we are in a "comfortable position going into 2014″.
Speaking at the launch of the NTMA's Annual Report for 2012, John Corrigan said "we are on target" to exit the bailout programme but was cautious and added that "Ireland still has a long way to go".
The Minister for Finance was positive about Ireland's economic situation and congratulated the NTMA for its success on re-entering the bond markets and reducing Ireland's debt by €20 billion.
However, the minister added if he had to describe Ireland in one word it would have been "debt". He said we are "spending more than we raise in taxes and that can't continue… We have to make sure that the State can fund itself on the markets".
In the seventh auction and the second last of 2013, Ireland sold another batch of €500 million three month government bonds at an annual rate of 0.20 per cent.
Noonan reminisced about days when "bond auctions wouldn't get a mention in the paper" and "I'd like to get back to that. Like it's normal for Ireland to be raising money".
"I'm confident that our debt position has become more sustainable," said the minister.
The Finance Minister would not give anything away about what would be included in next year's budget, which will be published on Tuesday, 15 October. He said the Troika would be getting an "outline" of it but they would not be included in forming it.
Email "How would the Minister for Finance describe Ireland in one word? Debt.".
Feedback on "How would the Minister for Finance describe Ireland in one word? Debt.".


text:
So You Think You Can Be President
Posted by Chris Matarazzo at 7:37 AM
[This is an oldie, but I thought it was the appropriate time to bring it back. The more I think about it, the more it seems like a good idea -- Chris]
This is a proposal of the most grave and honest intent.
Here it is. We have two years to get ready for this. I propose that we replace our current system of electing the President of the United States. Instead of the campaign/election process, the President should be chosen based on the call-in votes of Americans during a reality competition television show called So You Think You Can Be President. I submit that we will get better, more reliable results than we get with the current system. Voters will know their candidates much more deeply and they will be more confident and informed in their ultimate voting decisions. But the show must be carefully planned to yield the most reliable results.
First, there will be no party affiliations. Let's get that done from the start, because that is an archaic idea and parties cause more troubles than they abate. Parties are a smokescreen for cowardice and laziness of thought.
Second, all candidates must be over the age of forty and they must carry a master's degree in an academic discipline. (This helps to insure their potential as learners and thinkers.) Career politicians are welcomed to apply, but so are, say, English teachers, laywers, doctors, business people and librarians, etc.
Stage one of the competition:
People from each state who want to be President will upload a five-minute video speech to their state's designated site. They will explain in this speech why they want to and think they can be President. The people in the state will vote and the top vote-getter from each state will be sent to the So You Think You Can Be President White House -- an exact replica of the White House constructed on an undisclosed site. All 50 of the Internet picks will live there until the first big elimination: the American history test.
Stage two:
The American history test will be written by a panel of history professors chosen from American universities. The lowest twenty of the contestants will be sent home after the first episode of the show. The top 30 will remain and they will begin competing.
Our panel of American history professors will be replaced, at this point, by a panel of political science professors. These professors will administer a test, each week, on the Constitution. Any contestant who scores below an 85% on the test for the week will receive a penalty of a 10% decrease in his or her popular call-in votes for the week. Any competitors who receive below a 70%, at any time, will be immediately eliminated from the competition, regardless of their popularity. The test will be as objectively oriented as possible. Interpretation will be left for the ensuing competitions.
The show will be produced, of course, by the producers of American Idol and So You Think You Can Dance. On the show, there will be a panel of commentators who will have nothing to do with the voting process -- they just comment. This panel will consist of John Stewart, Dennis Miller, Glenn Beck, Rachel Maddow and Ben Stein. These judges will comment on the contestants' performance in much the same way as the American Idol judges comment when the votes are in the hands of the public. Since no one will be part of a political party, these judges will not be swayed by preconceptions and their backgrounds should be from diverse enough places that there is a give-and-take in their evaluative process, no matter how asinine or agenda-driven some of them might have been in the past. (It will be interesting to see where they stand on things when there no pre-labeling of contestants. If George Carlin were still with us, he would have been invited to be on the panel as the unwavering voice of reason, though he would undoubtedly have turned the offer down.)
Stage three: The weekly show will consist of challenges in which the contestants have to prove themselves in the areas of 1) ethics, 2) logic, 3) current issues and 4) presidential scenarios. The challenges will be devised by professors in areas related to each of these topics. Representatives of the religions of our country will also be part of the "ethics" element. The professors, clergy and producers will create and present the contestants with challenges and, each week, the public will vote for the winners after the breakdown and commentary of the judges; the three least-voted-for contestants will be eliminated each Friday. (The producers can iron out the process, but you get the point.)
During the process, contestants will be required to keep daily blogs regarding the show's progress. Everyone in the country (and the world) will have access to these blogs twenty-four hours a day.
The winner of the show will be our next President.
The prize: being President. There is no salary. For four years, the President and his or her family will be supplied with food, clothing and a pretty nice place to live in Washington, D.C. After that, he or she is free to compete on the show again, but after the second term, that person is on his or her own. No lifelong salary, no special benefits. The former President is free to work in any area he or she wants, but is no longer to be called "President." The ultimate reward will be to have served the American public, with no personal gain.
After this process we will have a President who is well known by the people before he or she takes office and who was chosen based on a display of intelligence, knowledge, logic, ethics and performance under pressure in simulated presidential scenarios. This person will have been chosen based on his or her ideas and not based on people's prejudice against or for subjective party stereotypes. The President will have been tested by experts in their fields and grilled, publicly, by some insightful comic and political minds. And, perhaps most importantly, the American public will have participated in the electoral process with the same energy they give to dance shows and singing shows, which, by my estimation, is about three-times the attention and thought they give to elections, including those who vote.
All advertising proceeds from the show will go to the country's poor. And me.
The Ballad of the Eagerly Terrified Poets
The Critique
The Gift of Observation
Scattered Backward
I'm Nice
The Heart of Hope
Symbolic Stupidity
A Somber Decree
On Earning One's Eternal Rest
The Master Thespian (A Parable)
College Kids Today!


Petr R. and Maxim K. participated in the filming of presentation video for channel Russia-2.
Vladimir S. for magazine MAXIM.
Starring model and actress agency - Nadezhda A., Ayshat M., Nadezhda N.
Approved for the role and start filming Vladislav L., Konstantin V., Daria R., Sophia V. and Michaela Sh. in the feature film "Kitchen inParis". Directed by Dmitry Dyachenko.
More than 50 actors, models and children of agency M-Globus participated in commercials dedicated the FIFA World Cup 2018 in Russia.
Ksenia O., Catherine G., Helen J. and Oksana G. presented a new collection of Paul Gehring Fall -Winter 2013-2014. "Angels & Demons ", a master class for the company ALCINA.
Anastasia M. for advertising photography Incanto!
Approval of the role and the beginning of filming the actor Andrew B. agencies in 4 -part TV movie "Locusts " (director Egor Rams).
Myron K. took part in the filming promotional video designer furniture «Million».


Former All My Children co-stars Jacob Young and Alexa Havins reunite in Killer Vacation, premiering November 23 at 8 p.m. ET/PT on Lifetime Movies.
In the film, successful businessman Jake (Young) takes his pregnant girlfriend Lindsey on a babymoon trip to an upscale desert resort. When they get there, Lindsey discovers that Jake's meddlesome soon to be ex-wife, Gwen, is there too. In a dream vacation gone wrong, it becomes apparent that someone is determined that Lindsey will never use her return ticket.
On All My Children, Young starred as JR Chandler while Havins played Babe Carey.


The Holy Family Nursing Home in Killimor took the award for .Best Nursing Home in the Country. after seeing off very strong competitors in the previous rounds, and then beating the best of the best to be proclaimed the victorious winners at the Awards Night, held in Dublin.s Burlington Hotel.
The National Q Mark Awards are widely considered to be the ultimate achievement for any Irish business, currently recognised by 87% of the population as guaranteeing the highest standards of quality and excellence available in Ireland.
The Holy Family Nursing Home is a modern purpose built residence situated within walking distance of Killimor town.
Surrounded by open green fields on two sides and positioned opposite the Local G.A.A grounds which ensures a vibrant and lively local focal point throughout the year.
The Nursing Home is run by a Manager, a Matron, two chefs, administrative staff, Handyman, Cleaner and a team of full time and part time professional caring staff.
Qualified registered nursing staff, are on duty 24 hours per day as well as medical cover by the local doctors for all residents of the Holy Family Nursing Home.
Care is administered by qualified registered nurses and excellent care assistants whose familiar faces establish security and well being for the residents.
For those looking for respite care, we are only too pleased to assist you wherever possible.
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text:
Q: How can I join these tables so I get only distinct values return regardless of whether there are nulls in the other tables? My current query results in duplicate records being returned despite specifying distinct, if I remove my third join the query works fine; but I'd like those columns from the third table. This is definitely do to me being confused about the different types of joins so if someone could explain it to me that would be awesome. Oracle SQL btw
select distinct t.objectid as transformer_id,
CASE
    WHEN u.groupnumber = '006'THEN '006 - Conventional Stepdown, Taps >= 75 kVA'
    WHEN u.groupnumber = '018'THEN '018 - Conventional Stepdown, Taps >= 75 kVA'
    WHEN u.groupnumber = '084'THEN  '084 - PM LBT Loop F Dry Type - Brookdale Village'
    WHEN u.groupnumber = '107'THEN '107 - Conventional Stepdown, Taps'
    WHEN u.groupnumber = '108'THEN '108 - Conventional Stepdown, Taps'
    WHEN u.groupnumber = '197'THEN '197 - SUB NW HD LBT LOOP TC [26]'
END AS group_number,
t.feederid as circuit_num, t.gps_x as lon, t.gps_y as lat,
s.customerhousenumber as house_numb, s.customerstreetname as street_name,
s.crossstreet as cross_street, s.customertown as town, s.customerzip as zip
FROM ((mvtransformer t
INNER JOIN mvtransformerunit u
  ON t.objectid = u.transformerobjectid)
FULL OUTER JOIN vservicepoint_meterinfo s
  ON t.objectid = s.transformerobjectid)
WHERE (u.groupnumber = '006' OR u.groupnumber = '018' OR u.groupnumber = '084' OR u.groupnumber = '107' OR u.groupnumber = '108' OR u.groupnumber = '197');

edit:
Current output: All the specified fields, repeated for transformers that have multiple service point records (the s) associated with them; the relationship between them is one to many.
Desired output: Unique transformers only, return only the first associated record from service points.
Now that I think about it and after reading the comments, it really is kind of a flawed query. Problem is that my organization has no ER model for the database so I'm figuring out how everything is connected and what is storing what as I go.
I think if they need the addresses I'm just going to reverse geocode, but still I'm curious on what I'd have to do for the above to work.

A: As Pavel Brziák mentioned in the comments, you need to define "return only the first associated record from service points" by mentioning the condition that makes a record "first".
Also you should consider the relationship between mvtransformer and mvtransformerunit  that might be one to many (if it is one to one you can remove the DISTINCT).  Despite having an ER you can execute the following query and give you a clue about the relationship of the tables (although in case the following query won't return you any rows, you can never be sure that one day it might return one)
SELECT t.objectid
FROM mvtransformer t, mvtransformerunit u
WHERE t.objectid = u.transformerobjectid
GROUP BY t.objectid
HAVING COUNT (*) > 1

Assuming that the aforementioned (mvtransformer and mvtransformerunit) association is one to one, you can use the following solution that takes the first (randomly) record from vservicepoint_meterinfo .
SELECT transformer_id,
   group_number,
   circuit_num,
   lon,
   lat,
   house_numb,
   street_name,
   cross_street,
   town,
   zip FROM (
select distinct t.objectid as transformer_id,
CASE
    WHEN u.groupnumber = '006'THEN '006 - Conventional Stepdown, Taps >= 75 kVA'
    WHEN u.groupnumber = '018'THEN '018 - Conventional Stepdown, Taps >= 75 kVA'
    WHEN u.groupnumber = '084'THEN  '084 - PM LBT Loop F Dry Type - Brookdale Village'
    WHEN u.groupnumber = '107'THEN '107 - Conventional Stepdown, Taps'
    WHEN u.groupnumber = '108'THEN '108 - Conventional Stepdown, Taps'
    WHEN u.groupnumber = '197'THEN '197 - SUB NW HD LBT LOOP TC [26]'
END AS group_number,
t.feederid as circuit_num, t.gps_x as lon, t.gps_y as lat,
s.customerhousenumber as house_numb, s.customerstreetname as street_name,
s.crossstreet as cross_street, s.customertown as town, s.customerzip as zip,
DENSE_RANK() OVER (PARTITION BY t.objectid ORDER BY s.rowid) AS drank
FROM ((mvtransformer t
INNER JOIN mvtransformerunit u
  ON t.objectid = u.transformerobjectid)
FULL OUTER JOIN vservicepoint_meterinfo s
  ON t.objectid = s.transformerobjectid)
WHERE (u.groupnumber = '006' OR u.groupnumber = '018' OR u.groupnumber = '084' OR u.groupnumber = '107' OR u.groupnumber = '108' OR u.groupnumber = '197')
WHERE drank = 1;

In case you want to retrieve the record from vservicepoint_meterinfo  that

*

*Is being created first (and you have this information in column CREATED of table vservicepoint_meterinfo) replace s.rowid with s.created ASC

*Is being created last (and you have this information in column CREATED of table vservicepoint_meterinfo)  replace s.rowid with s.created DESC

Please take under consideration that this practice is not suitable for including this query in database VIEW that can be filtered (i.e. SELECT * FROM transformer_servpoints_view WHERE transformer_id = 123) since Oracle will have to pre-calculate the inner query by making a full table scan on mvtransformer

redpajama_set_name: RedPajamaStackExchange


With an acoustically driven, melodically warm hue, Jane of Arc, comprised of Chelsea Carter and Elida Quesada is most commonly described as an all-female, Michigan based, indie-acoustic-pop, band. Their unique, yet strikingly familiar sound has been evolving since the mid 00's and is revealed promisingly in the debut of their first LP. Influenced by traditional iconic artists and small-town starving artists alike, JOA can be compared to many, yet sound identical to no one.
The connection between Carter and Quesada began in 2007 through Myspace music which lead to a beautiful collaboration in a basement apartment in the heart of Detroit. A percussionist and bassist were brought on shortly after to complete the quartet that would later be named Jane of Arc. With the strong female figure Joan of Arc in mind, the four decided Jane would help establish some individuality while still keeping in close ties with the famous martyr.
The band re-located to the Ferndale/Royal Oak, MI area in late 08' where they would make a more permanent home for themselves and shortly after, record a low-fi, 7-song EP of original material. By mid-'09, the original drummer departed and the band was forced to switch gears. After a short period of time with a second drummer, they adjusted to a 3-piece set involving a pseudo-musical-chairs live set-up with the band members rotating instruments. Carter sang, played piano and axillary percussion; Quesada sat on a stripped down drum kit, would jump in on keys and primarily played rhythm guitar; Kelly Rons oscillated between lead and rhythm guitar. In 2012, the band took another hiatus while Rons pursued a job opportunity in Chicago.
A year later, the three re-connected for a 13 month venture which included running a successful Indiegogo campaign to raise funds to produce a proper album. They recorded their first LP while taking huge strides in finding their true voice before three inevitably became two.
With full hearts, determination and a fresh perspective on teamwork, trust and music, Jane of Arc's presents their labor of love: Freedom in Falling. The album (released April 29th, 2014) represents 6+ years of music collaboration that started as one acoustic guitar and one voice and evolved into blanketed layers of instrumentation and vocals. A 35 song catalog was whittled down to 13 fully-realized tracks and taken to Solid Sound Recording Company in Ann Arbor, Michigan. Jane of Arc has finally made their dream a reality and aims to hit the nail on the head with this album. Freedom in Falling takes indie-acoustic-pop enthusiasts on a journey through the uncertainty, fear and liberation of experiencing love and enduring loss.


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Creation of BizzilionMedia media multiplatform with enhanced functionality: from purchase and sale to blocking of illegal content for the end user.
Creation of Bizzilion Digital Sales, a completely digital sales house based on blockchain technology.
Development and production of BizzCoin cryptocurrency tokens.
Creation of decentralized exchange for internet advertising.
Sublicensing is the resale of broadcast rights by one company to another one. It was because of such transactions in the middle of the last century that sporting events entered the category of medium-sized business. For example, in 1948 the BBC acquired the rights to broadcast the Olympic Games in London for $3,000. More recently, Sky Sports and BT Sports have signed a € 5 billion contract with BBC to broadcast the Premier League.
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The industry of online broadcasts in real time as well as popular game replays is constantly evolving. Today it covers not only gaming but a variety of other areas. In 2012, Amazon invested more than $970,000 in the development of this business. Interestingly, according to data provided by Newzoo, this year the profit of eSports will be around $700 million.
BIZZILION PTY LTD received official registration in two countries: Ireland and Australia. We are a legal entity, and we work in strict adherence to the provisions of legislation of these countries as well as international legal norms relating to this type of activity. To read the BIZZILION PTY LTD registration documentation, please click on the links below.


Sara Schuttloffel is the Director of Public Relations and Communications for the Ironworker Management Progressive Action Cooperative Trust (IMPACT). Sara has over 7 years of cumulative experience in public relations and communications as well as experience working in all three public relations sectors – in house, agency and consulting. Sara specializes in strategic communications, media relations, branding, crisis communications and digital communications.
Before joining IMPACT, Sara worked as a PR consultant and her clients included Volkswagen America, the American Red Cross, the Center for Responsible Lending, International NGO Lupwa Lwabumi Trust and DC Fashion Foundation. Prior to working as a consultant, Sara worked at a public relations firm serving clients such as Raytheon, the government of Sri Lanka, the Kurdistan Region of Iraq and ITT. She created and implemented communications plans for her clients and made recommendations on strategic communications, branding, content marketing and messaging to increase brand awareness.
Accolades she received for her work include 2013 Georgetown Branding Award for the campaign she created for Volkwagen America targeting millennials.
At IMPACT, Sara manages media relations, publicity and digital communications. She develops strategic communications plans for IMPACT and crafts and refines core messaging. She also serves the Iron Workers (IW) and its contractors in a consulting capacity, making recommendations on messaging and content marketing to raise brand awareness. In just the first 8 months with the Iron Workers and IMPACT, she secured interviews and placed important stories in major national media outlets, industry magazines both in the U.S. and Canada and regional news outlets. She also published an opinion editorial in the coveted Viewpoint page of the Engineering New Record (ENR) on behalf of the Iron Workers Executive Director of Apprenticeship and Training.
Sara earned her master's degree in Public Relations and Corporate Communications from Georgetown University and holds a Bachelor of Arts degree from South Dakota State University in Political Science and International Relations.


Featuring mesmerizing cover artist Lori Earley and her new show "Laments and Lullabies", a feature interview with amazing painter Joe Sorren, the swirling DNA structures of Mia Brownell's un-still life's, an in-depth feature article with sculptor Kris Kuksi, the dynamic art of Dave Kinsey, the ethereal paintings of Eric Fortune, the eerie paintings of Candice Tripp and drawings by Christopher Burch, the art of Sam Weber, and the powerful sculptures of Harma Heikens. Plus much more. View previews here!


text:
Beta Psi Lambda Chapter Los Angeles
Contact us at This email address is being protected from spambots. You need JavaScript enabled to view it.
About Alpha
The Fraternity
The Chapter
Join the Chapter
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Go-To-High School, Go-To-College
A Voteless People is a Hopeless People
Brother's Keeper
Alpha Esquires
Christmas Toy Drive
The Alpha House
Brother Jamin Butler gets married!
In News & Events
Brother Jamin Butler and his bride Ayron recently tied the knot in New Orleans.
Their wedding conveyed a sense of Black love, Black family, Black pride, Black excellence, and Black elegance.
Brother Fred Smith and his wife Kathy were the wedding officiants, and Brother Jason Lewis and his wife Jennifer were a part of the wedding party. Brother Paul Milton Smith, who is Brother Butler's Line Brother, was also in attendance.
Brother Butler has strong ties to the city of New Orleans, as he attended Xavier University for undergrad and Tulane University for grad school. While in New Orleans for the wedding, he and his business partners were able to to promote their Black Coffee Company. They held a pop up sale at their alma mater Xavier University. To purchase coffee and other products from the Black Coffee Company, visit https://www.theblackcoffeecompany.com/ and follow them on social media. Also read about them at https://lastandardnewspaper.com/index.php?option=com_content&view=article&id=739:black-coffee-is-for-the-culture&catid=76:business-1&Itemid=245.
You are here: Home News & Events Brother Jamin Butler gets married!
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Join The Mosaic Rooms Mailing List
Get free tickets and find out about our new events
The Mosaic Rooms
Contemporary Culture from the Arab World and Beyond
Oral histories workshop
Saturday 2 March 10am – 5pm
Sunday 3 March 11am – 3pm
BAFTA nominated filmmaker Tina Gharavi will lead this weekend workshop, open to anyone from the Yemeni diaspora living in/near London. Participants will be invited to explore the Last of the Dictionary Men exhibition at The Mosaic Rooms and share their own personal, family and collective stories. They will learn to interview and film one another.
The oral histories captured during the weekend will be edited into a new short video work by Bridge + Tunnel, commissioned by The Mosaic Rooms. The video will be screened during the latter weeks of the Last of the Dictionary Men exhibition, adding stories from the London Yemeni community to the voices from South Shields.
If you would like to participate and share your stories please email education@mosaicrooms.org for more information, or call 020 7370 9990
Places are limited: maximum 15 people
The workshop and filming will take place at The Mosaic Rooms. Refreshments will be provided.
A.M. Qattan Foundation
The Mosaic Rooms forms part of the A.M. Qattan Foundation's ambitious plan to expand its Culture and Arts Programme in a number of international locations. A.M. Qattan Foundation is a registered charity no. 1029450 and as a company limited by guarantee no. 2171893) © AM Qattan Foundation, 2014
The Mosaic Rooms, Tower House, 226 Cromwell Road, London SW5 0SW
© A.M. Qattan Foundation
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TO OUR BOOKSHOP CUSTOMERS - Please note, we are currently not shipping to Europe. Dismiss


Oil on canvas. Staatliche Museen, Schloss Charlottenburg, Berlin, Germany.
current 17:57, 5 July 2007 752 × 511 (32 kilobytes) (Talk | contribs) Jean-Antoine Watteau. Peaceful Love. c. 1718. Oil on canvas. Staatliche Museen, Schloss Charlottenburg, Berlin, Germany.
This page was last modified on 5 July 2007, at 17:57.


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Atrahasis, the Babylonian Flood
Posted on February 5, 2015 by In My Anguish
Short Cuts by Marina Warner
from the London Review of Books, April 2014
Most ancient stories of the Flood, the gods are annoyed by humans making a racket and keeping them up at all hours: these gods are unreconstructed adults who don't hold with negotiating but relish inflicting punishment, while humans are lawless, partying teenagers.
The poem Atrahasis, written down at some point between 1702 and 1682 BC by 'Ipiq-Aya, Junior Scribe' (mirable dictu, we know his name!) long after Noah's Flood btw, tells how Enlil, part of the triad of gods — the others are Anu and Ea., starts his regime of terror by plugging the springs and sending a series of lightening bolts to the earth, air and sea. This makes the ground dry up, seed corn rot famine resulting, and plague then visiting upon the noisome noise-makers:
The dark pastureland was bleached,
The broad countryside filled up with alkali …
Their faces [become] cover[ed] with scabs (?) like malt,
Their faces looked sallow,
They went out in public hunched
(Stephanie Dalley's translation, see here for more on Prof Dalley.)
The poem is uncannily prescient about extreme weather events around the world (storms, droughts), the rise in global mean temperature and the threat to water resources in so many places. Enlil meants Lord of the Winds so he represents both the hurricane and the gentle winds of spring both which were thought of as a breath issueing from his mouth and eventually became just a word or command. Sometimes as the poem continues, he is simply called the Lord of the Air.
Anu was the highest god in the Sumerian pantheon but Enlil had a more important role because he was the enbodiment of energy, force and authority. The center of his cult was Nippur– modern day Nuffar Iraq– and so Enlil was also the god of agriculture. The Myth of Creation of the Hoe describes how Enlil separated heaven and earth to make room for seeds to grow and then invented the hoe to break the hard crust of earth, from which men sprang forth fully formed. Later he was replaced by Marduk in the Babylonian pantheon but Enlil managed to linger on.
The epics of Mesopotamia, are written in Akkadian (the script that looks like wading birds' skittering feet on the ebb tide sand), and a prolonged drought precedes the great flood which Enlil and his fellow deities decree. The story seems to have originated in the fertile basin of the Tigris and Euphrates, where locals were accustomed to swelling rivers and rising tides, rich in alluvial deposits. It dramatises the symbiosis of land use and water flow, and the danger to survival if that relationship is disturbed.
In the Epic of Gilgamesh the king is a culture hero, who builds a magnificent walled city, founds a library and, above all, digs wells.In other epics from Babylon and Sumer, the gods set out expressly to cure overcrowding by exterminating (almost) everybody – a religious rationalization of disaster. In other, less nasty stories, the Deluge brings to an end the immortality that human beings once enjoyed in the image of the gods.
The book of Genesis traces of the plot seem to linger on in the extreme longevity of Adam (930 years). Noah, who is the favored survivor in the Judeo-Christian version, is already 600 years old at the time of the Flood and he carries on afterwards (as do Methuselah et al), for the Bible, but unlike its Babylonian counterparts doesn't establish that post-diluvian life expectancy has been shortened, but neither do we we read again of men living so extremely long.
Andrew George, the editor of the Oxford Classics Epic of Gilgamesh, writes that 'in the main the function of the poem is not to explain origins. It is more interested in examining the human condition as it is.' For Thorkild Jacobsen it is a 'story of learning to face reality, a story of "growing up"'. In this respect Gilgamesh is existential in spirit, whereas the flood story in the Bible is religious: God is put back into the picture and his actions justified in ways not found in the ancient epics. The gods are called dogs and flies, like 'parasitical scavengers', Andrew George writes; their eternal realm clogged with dust.
Versions of the Flood from around the world record memories of different disasters, not one single universal deluge but the different accounts share several dramatic elements: the figure of the one man who is chosen to survive, the extraordinary hope placed in the building of a boat, its measurements and vast size, and the processes of caulking and stocking it.
In the Epic of Gilgamesh, the ark is a six-decker vessel; in the Bible, the specs seem so exact they inspired many believers to attempt to make models. Atrahasis is the name of the hero who is spared and wins eternal life in the poem that Ipiq-Aya, Junior Scribe, pressed into the wet clay with his reed pen. In Gilgamesh, the survivor is called Uta-napishti, and Gilgamesh meets him when he is traveling to the underworld in order to bring back from the dead Enkidu, the wild man whom he loves. But the half-divine hero fails, and although he is told how to pick a magic coral-like plant from the seabed, which will guarantee his immortality, he loses it when he is bathing in a pool: a snake comes by and takes it.
The Babylonian Noah tells Gilgamesh how he survived the rains; in Atrahasis he sees in a dream that he must build an ark; in the later Gilgamesh, the counselor god Enlil whispers the warning in secret: Load the seed of every living thing into your ark, The boat that you will build. (John Gardner's version, 1984.) The animals do enter two by two in some versions, but here the ark is a sperm bank, a granary.
The Epic of Gilgamesh was deciphered from cuneiform tablets in the British Museum which had been excavated in the Library of Ashurbanipal in Nineveh. Thousands of chunky manuscripts, chipped, friable and defaced, more like napped flints than books, were dug out of the alluvial strata by Henry Layard and Homuzd Rassan in the 1850s and laid out on trays in the museum.
George Smith was an engraver of banknotes for Bradbury's, the printers, which specialized in playing cards and had the commission from the Mint to issue banknotes. The workshop was near the museum and the story goes that George took to haunting the Assyrian collections in his lunch hour, until he caught the eye of the keeper, who asked him what he was doing, coming so regularly. 'I am reading,' he replied.
So this startling decoder was set to work on the jumble of stone bits and pieces until one day he cried out in ecstasy and ran round the room tearing off his clothes. George Smith had found Tablet XI of the Epic of Gilgamesh, which told the story of the Flood, and his joy was occasioned above all by the independent corroboration the poem offered to the historicity of the Bible. Smith was a fervent Christian and longed, as many did, for archaeology to prove the scriptures' reliability.
Later that year, 1872, he delivered a paper to the Society for Biblical Archaeology, and read out the account of the flood from the epic. This was the first time the Epic of Gilgamesh had been heard and understood after an interval of two thousand years: the longest sleeper ever among the world's great poems. Four years later, Smith died before reaching Aleppo at the age of 36 which was speculated to actually be the plague sweeping the lowlands of Syria and Iraq. You can read about his tragic end here at the UK Telegraph.
The work's interrupted chronology, so different from the destiny of the Upanishads or even Homer, gives Gilgamesh a double history, as an ancient epic and a modern narrative poem. More of the epic would be discovered under the sand as time went on.
In 1990 Stephanie Dalley added more lines from newly recovered pieces, but most of what's left has probably been smashed in the course of the Iraq wars. It seems proper that a place of fire and dust, its skin scarred by warfare, should be the origin of the story of the Flood as well as its end.
Fire and Ice by Robt Frost
Some say in ice.From what I've tasted of desire
But if it had to perish twice, I think I know enough of hate
To say that for destruction ice is also great
Posted in UncategorizedTagged Atrahasis, London Book Review, The FloodLeave a comment
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Jeremy has extensive experience of providing strategic communications advice and managing results-driven outreach campaigns for multinational B2B technology companies operating in China. His technology and corporate communications work covers traditional and digital media as well as analyst-focused programs for the semiconductor, storage, security, CRM, hardware, software, industrial chemicals, textiles and retail sectors. Jeremy works with a wide range of industry influencers including bloggers and media covering channel and consumer technology, business and international news. His clients include H3C, Adobe, BSA, Belkin, Philips Semiconductors, EMC, RSA, Hitachi Data Systems, Siemens PLM Software, Hewlett-Packard, Convergys, Ricoh InfoPrint Solutions, Danaher Motion, LANXESS GmbH, Invista, Metro AG, etc.
Jeremy has a knowledge complexity in terms of client relations management, media relation management, content development, event management as well as dynamic capability in innovation and problem solving.


text:
Q: Numberline gets skewed when i make many lines Here is the code for a simple text editor, complete with a numberline on the side. The numbers themselves are a bit buggy. However, the problem is that when i make alot of lines, the numberline and the actuall text widget gets skewed. (see picture below)
https://postimg.cc/PLdX34RT
from tkinter import*
import random

class Main(Tk):
    def __init__(self):
        super().__init__()

        self.scroll = Scrollbar(self)
        self.scroll.pack(fill=Y, expand=True, side=RIGHT)

        self.numberLine = Text(self, width=5)
        self.numberLine.pack(side=LEFT)

        self.txt = Text(self)
        self.txt.pack(side=LEFT)

        self.scroll["command"] = self.onScrollbar
        self.txt["yscrollcommand"] = self.ontextScroll
        self.numberLine["yscrollcommand"] = self.ontextScroll

        self.txt.bind('<Key>', self.insert)

    def onScrollbar(self, *args):
        self.txt.yview(*args)
        self.numberLine.yview(*args)

    def ontextScroll(self, *args):
        self.scroll.set(*args)
        self.onScrollbar("moveto", args[0])

    def insert(self, b):
        self.txt.configure(state="disabled")
        self.numberLine.delete("1.0", "end")

        for i in range(int(self.txt.index('end').split(".")[0])):
            self.numberLine.insert(INSERT, f'{i}\n')

        self.txt.configure(state="normal")

app = Main()
app.mainloop()

A: I think the offset appearing between the text widget and line numbers comes from the fact that both widgets do not contain the same number of lines. Indeed, there is an extra line on the line number side due to the newline inserted after the last line number. Therefore, when there are enough lines to fill the widgets, the yview (set in percent of the total height in yview_moveto()) does not correspond to the same line in both widgets.
To fix that, one can avoid inserting the last newline in insert(), e.g. by using
self.numberLine.insert("1.0", "\n".join([str(i) for i in range(int(self.txt.index('end').split(".")[0]))]))

instead of the for loop
for i in range(int(self.txt.index('end').split(".")[0])):
    self.numberLine.insert(INSERT, f'{i}\n')

I don't know what the OP intends to do and what kind of actions are expected from the user but I think it is quite inefficient to delete all the line numbers and rewrite them every time. Here is an example of how to add or delete only the line numbers that have changed:
from tkinter import*

class Main(Tk):
    def __init__(self):
        super().__init__()

        self.scroll = Scrollbar(self)
        self.scroll.pack(fill=Y, expand=True, side=RIGHT)

        self.numberLine = Text(self, width=5)
        self.numberLine.pack(side=LEFT)
        self.numberLine.insert("1.0", "1")  # first line
        self.numberLine.configure(state="disabled")

        self.txt = Text(self)
        self.txt.pack(side=LEFT)

        self.scroll["command"] = self.onScrollbar
        self.txt["yscrollcommand"] = self.ontextScroll
        self.numberLine["yscrollcommand"] = self.ontextScroll

        self.txt.bind('<KeyRelease>', self.insert)

    def onScrollbar(self, *args):
        self.txt.yview(*args)
        self.numberLine.yview(*args)

    def ontextScroll(self, *args):
        self.scroll.set(*args)
        self.onScrollbar("moveto", args[0])

    def insert(self, b):
        self.txt.configure(state="disabled")
        self.numberLine.configure(state="normal")

        row = int(str(self.txt.index('end')).split('.')[0]) - 1  # new number of lines
        row_old = int(str(self.numberLine.index('end')).split('.')[0]) - 1  # old number of lines
        print(row, row_old)

        if row_old < row:  # insert missing numbers
            self.numberLine.insert('end', '\n' + '\n'.join([str(i) for i in range(row_old + 1, row + 1)]))
        elif row_old > row:  # remove extra numbers
            self.numberLine.delete('%i.0' % (row + 1), 'end')
        self.numberLine.configure(state="disabled")
        self.txt.configure(state="normal")

app = Main()
app.mainloop()


text:
Q: Using PIP to install jupyterlab So I recently decided that I wanted to do Python again but this time I wanted it for AI, so I ended up wanting to use Jupyter Notebook. However, when I use the command pip install jupyterlab, it gives me the following error.
dyld: Library not loaded: /System/Library/Frameworks/CoreFoundation.framework/Versions/A/CoreFoundation Referenced from: /Library/Frameworks/Python.framework/Versions/3.7/Resources/Python.app/Contents/MacOS/Python Reason: image not found zsh: abort      pip install notebook
So I decided to check my echo $PATH and I got this
/Library/Frameworks/Python.framework/Versions/3.9/bin:/Library/Frameworks/Python.framework/Versions/3.8/bin:/Library/Frameworks/Python.framework/Versions/3.5/bin:/Library/Frameworks/Python.framework/Versions/2.7/bin:/Library/Frameworks/Python.framework/Versions/3.7/bin:/usr/local/bin:/usr/bin:/bin:/usr/sbin:/sbin:/Library/TeX/texbin:/usr/local/share/dotnet:~/.dotnet/tools:/Library/Frameworks/Mono.framework/Versions/Current/Commands
So what I understood from this is that my system is using python 3.9? <- I'm not sure about this to be completely honest. Going back to the pip install jupyterlab it gives another error in which is gives me this
Process:               Python [5911]
Path:                  /Library/Frameworks/Python.framework/Versions/3.7/Resources/Python.app/Contents/MacOS/Python
Identifier:            Python
Version:               3.7.6 (3.7.6)
Code Type:             X86-64 (Native)
Parent Process:        zsh [5755]
Responsible:           Terminal [4007]
User ID:               501

Date/Time:             2021-09-15 09:34:31.540 -0400
OS Version:            macOS 11.4 (20F71)
Report Version:        12
Bridge OS Version:     5.4 (18P4663)
Anonymous UUID:        97B6C1B1-F670-238C-FB42-76BAB028DC08

Sleep/Wake UUID:       9DA5F457-58C0-4989-8702-A75276E1B82F

Time Awake Since Boot: 30000 seconds
Time Since Wake:       3000 seconds

System Integrity Protection: enabled

Crashed Thread:        0

Exception Type:        EXC_CRASH (SIGABRT)
Exception Codes:       0x0000000000000000, 0x0000000000000000
Exception Note:        EXC_CORPSE_NOTIFY

Termination Reason:    DYLD, [0x1] Library missing

Application Specific Information:
dyld: launch, loading dependent libraries

Dyld Error Message:
  dyld: No shared cache present
Library not loaded: /System/Library/Frameworks/CoreFoundation.framework/Versions/A/CoreFoundation
  Referenced from: /Library/Frameworks/Python.framework/Versions/3.7/Resources/Python.app/Contents/MacOS/Python
  Reason: image not found

Binary Images:
       0x100000000 -        0x100000fff +org.python.python (3.7.6 - 3.7.6) <266DE8C4-14E3-83DB-D4C7-E809D96C1A79> /Library/Frameworks/Python.framework/Versions/3.7/Resources/Python.app/Contents/MacOS/Python
    0x7fff61bc9000 -     0x7fff61c64fff  dyld (852) <1AC76561-4F9A-34B1-BA7C-4516CACEAED7> /usr/lib/dyld

All in all how do I use pip to install Jupyterlab? I am very new to all this so I didn't know what the right information was to give so I gave everything I saw.
Thank you :)

A: Either you do it through anaconda: https://docs.anaconda.com/anaconda/install/index.html
Or, it seems you are using Python 3.7. It is recommended to use pip3 in that case. Have you tried pip3 install jupyterlab?


If you're ready to give your Arnot-area home a new look with brand new, top-of-the-line flooring, turn to your local Carpet One. Arnot-area Carpet One stores can be counted on to supply your Pennsylvania home with the top selections of flooring materials, professional installation, and flooring protection in the industry. Our inventory has everything from lush carpeting to versatile vinyl flooring and everything in between.
Carpet One redefines what it means to shop for flooring in the Arnot area. At your Carpet One near Arnot, we proudly provide you with flooring for all lifestyles and all budgets. Our Carpet One sales professionals will help you navigate the selection process with the added help of Carpet One's SelectAFloor™ system, which leads you to find your perfect floor at a perfect price. Whether you want the classic look of ceramic tile in your home or versatile vinyl that will resist wear and tear while still looking beautiful, rest assured that you can find what you need by shopping at Carpet One near Arnot. Plus, we have several SelectAFloor ™ warranty options available that will let you keep your floors beautifully protected for years to come.
Finding high-quality flooring at a great value has never been easier thanks to Carpet One near Arnot. Thanks to our expertise and great inventory, you can trust Carpet One near Arnot make your floor redesign experience a smooth one. Come in to your Carpet One near Arnot and let us help you start your flooring redesign journey today!


for iphone case can charge your phone and protect your phone,it is very useful and easy to use,There are a variety of colors to be chosen.
1,If you choose the "Mixed color", please tell us the quantity of each color you need.otherwise we will ship each color equally or by random.
2,Please put it in the phone after testing with something else.
2.Full Protection - Lightweight PVC casing with dual swivel lock and sealable closure clips safeguard your device against water, snow, dust and dirt.
3.IPX8 Certified - Superior water-resistant protection up to 98 feet (30 meters), offers waterproof / snowproof / dirtproof protection for your device while maintaining full touch screen functionality.


My keyboard is scrambled in EXOSTIV Dashboard. What happens?
We received reports of keyboard mapping being scrambled when using EXOSTIV Dashboard: a key was typed and another appeared in EXOSTIV Dashboard application.
This extension is normally installed by default in CentOS, Red Hat, … Linux systems.
Please contact your IT Administrator to check why the used X Server systems does not use the XKB (XKEYBOARD) extension.


Color: Pastel Blue. This is a very light cyan color that color pass as blue or green depending on what you're wearing it with. It's similar to Light Sea Green, but a bit lighter and brighter.
Aqua on the left, Pastel Blue in the middle, and Light Sea Green on the right. All three colors are high heat kk.
Sky Blue kk jumbo braid on the left, Pastel Blue high heat kk in the middle, and Pastel Green kk jumbo braid on the right.


Legendary value investor Howard Marks gives us a method to think about investment decisions . The thinking about thinking can be applied to any decision making . This involves thinking correctly using data and proper hypothesis . It also involves moving away from group think. The ability to think independently is underrated and most investors rely on complex analysis and models which fit perfectly into the thinking correctly, but really successful investors are not afraid to go against the crowd and be contrarian .


No technology is perfect and blockchain is one of them, SpesCoin believes that working with skilled security researchers across the globe is crucial in identifying weaknesses in any our platform. If you believe you've found a security issue in our product or service, we encourage you to notify us. We welcome working with you to resolve the issue promptly. Please review the following program rules before you report a vulnerability. By participating in this program, you agree to be bound by these rules.
SpesCoin will determine in its own discretion whether a reward should be granted and the amount of the reward. Depending on their impact, not all reported issues qualify for a SPES reward. However, all reports are reviewed on a case-by-case basis.
You must comply with all applicable laws in connection with your participation in this program. You are also responsible for any applicable taxes associated with any reward you receive.
Thank you for helping keep SpesCoin platform and our users safe!


text:
Q: Turning the "line number" on in kile? I think it is a really easy problem, but Google could not help and this searching function neither. I love kile, but the settings section is like a big mess for me. I would love to turn on a bar on the side of the document, which shows me the line numbering? Not in the finished PDF but in the "working area" of kile.
I hope you understand my problem. Thank you.

A: In Kile 2.1.3 at least: View --> Line numbers. Shortcut key is F11.

A: I'm using Kile 2.9.91, and it is something you could only do in "Configure Kile". Setting it in Menu Bar doesn't become permanent. In other words, Marjin's comment worked for me.

A: I'm using Kile 2.9.93 which by default doesn't show line numbers.
Though I was able to use the shortcut F11, I have to press this key every time I opened Kile.
To permanently show line numbers:

*

*Go to Setting => Configure Kile

*On the left side of the menu opened, go to Editor => Appreance

*Open Borders tab

*Check the ☑ Show line numbers option

*Click OK
P.S. Thanks @Margin for this link.
Namaste


that pushes the clouds aside.
that takes it all in.
Wonderful language! Composed really well! Thank you for posting this.
Thanks. I always thought this was a little soft but glad you liked it.
It is soft, but it has a heavy message which in a way, is better than if you hammered it out too much.
Thanks. Apt postscript: don't be the hammer either. I'll remember that.
Thanks. To you and to all.


text:
Trump Doesn't Break Character In CRAZIEST Interview Yet
1 month ago admin
Watch Trump insistently say his January 6th speech was "extremely calming". John Iadarola and Francesca Fiorentini break it down on The Damage Report.
Watch Francesca on The Bitchuation Room Sundays at 5/8EST http://www.youtube.com/franifio
Follow Francesca: http://www.twitter.com/franifio
Become a TDR YouTube Member: http://www.youtube.com/thedamagereport/join
Follow The Damage Report on Facebook: https://www.facebook.com/TheDamageReportTYT/
Help build the Home of the Progressives http://tyt.com/JOIN
Subscribe to The Damage Report YouTube channel: https://www.youtube.com/thedamagereport?sub_confirmation=1
Follow The Damage Report on TikTok:https://www.tiktok.com/@thedamagereport?lang=en
Follow The Damage Report on Instagram: http://www.instagram.com/thedamagereport/
Follow The Damage Report on Twitter: https://twitter.com/TheDamageReport
Read more here: https://www.rawstory.com/donald-trump-2655991516/?utm_source=pocket_mylist
"Former president Donald Trump claimed Friday night that his speech on Jan. 6 before the Capitol insurrection was "extremely calming."
"Honestly, I have nothing to hide," Trump told Fox News' Laura Ingraham, discussing a House select committee's ongoing investigation of the insurrection.
"I wasn't involved in that," he said, apparently referring to his supporters storming the Capitol after his speech. "And if you look at my words and what I said in the speech, they were extremely calming, actually.""
#TheDamageReport #JohnIadarola #TheYoungTurks
More from: The Damage Report
Previous Manchin Mocks Toothless West Virginians
Next Florida-Sized Glacier Collapse Will Raise Sea Levels Multiple Feet


text:
New Health Sciences System Webpage Sliding into Place
The University of New Mexico Health Sciences webpages are undergoing a major overhaul designed to make it easier for users to navigate.
The first access to the UNM Health System by most people begins with the UNM Health Sciences webpages. The big question has long been one of how to showcase the myriad of Health Sciences programs and projects while at the same time ensuring that there is a cohesive look to those pages.
"Our programs are varied - everything from the mountain medicine rescue program to pediatrics," says Alex Sanchez, the UNM Health Sciences public information officer. "At times, this has led to a look that was not cohesive. Our goal with the webpage remodel has been to strengthen the 'look' of our webpages while giving individual departments the tools they need to show case their programs."
In the past, some pages have been difficult for those unfamiliar with the Health Sciences system to navigate. Others have looked great - but not particularly like they were part of an academic health system - an issue that can also confuse users, according to Sanchez.
"Patients, students, residents, researchers - our audiences are wide and varied," she says. "At the same time, The University of New Mexico Health Sciences Center is one of the largest most diverse systems in the state."
The redesign focus is to create web pages that are user-friendly, whether that user is a potential student, health care professional or patient.
The Public Information Office is working with Stamats, a longtime academic website vendor based in Cedar Rapids, Iowa, to redesign Health Sciences webpages for optimal department flexibility while strengthening the Health System brand, Sanchez says.
"We have been evaluating best practices and making a schedule of redesigns. While some departments have already started their redesigns, the majority will start in early 2020," Sanchez says.
CLIVE is one new feature helping to drive a unique experience for each user. By hitting a hot key, (for instance, a 'learn more about our residency program') the user initiates a computer experience tailored to his or her needs.
Additional pages might prompt a potential applicant to find out about admission deadlines or requirements for a particular residency program. An expectant mom surfing the clinical areas would find resources she needs tailored to her particular stage of pregnancy, Sanchez says.
Yet all users would be seeing the same background templates, whether searching for research trials, medical services or physical therapy.
The web team is now scheduling meetings early in 2020 with departments to begin training on web writing best practices according to Sanchez.
A number of trainings will be offered in the coming months. Those who would like to schedule a session for their departments should contact Sanchez at alexsanchez@salud.unm.edu.
"We'll begin meeting with departments to discuss the process in early 2020 and expect to start moving content into the new educational templates in January and February, and then move to the clinical pages," Sanchez says.
"Our goal is for departments to take charge of their respective webpages after the remodel is in place," she says. "We recommend department web teams review their current webpages now and make a list of changes they would like to see. The more work you can do now in determining what you'd like to keep, omit or change will help ease the transition to the new design."
Backup support will continue from the Health Sciences web team. Minor updates are still being made by the web team and departments can contact them at hsc-webteam@salud.unm.edu. Departments will also need approval for any changes so that branding standards can be maintained.
The web team is also sponsoring bi-weekly phone calls that are open to interested departmental teams. To participate, dial into the conference line at 1-866-814-9555 and enter conference code 9423098844. The next call takes place January 22 at 9 a.m.


Individual payload files can be made 'secret' and so will not be listed in the menu unless the user takes a special action (e.g. enters a password).
For instance, we could hide a WindowsToGo .VHD file and a confidential, licensed repair .ISO file so they are not listed in the Main Menu. However, if you know the secret, you can enable them so that they are all listed in the menu and you can use any of them.
We can set the SECRET variable using a hotkey + password.
In the example below, if you type CTRL+F9 (in any menu) then a blank screen will appear with a password prompt.
You can then type the password EASY (in capital letters), and the hidden menu items will then magically appear in the E2B menus!
To make them disappear again, type CTRL+F9 again and press ENTER instead of entering the correct password. Or you could define a CTRL+F10 key to hide them all again more quickly (see below). Another alternative is to reload the Main menu again from the Main menu by pressing F8.
In addition, you could also set the Hidden and System Attributes to hide the files from Windows users.
For other variations, see the section below. We can use 'call Fn.70 3 ;; clear' to preserve the wallpaper background, or redirect the password prompt to > nul so it is not seen by the user, and even switch the wallpaper to a different one if the password was correct, etc.
Tip: Don't forget that you must also configure E2B for the correct keyboard - e.g. a password of 'easy' will not work if a QWERTZ keyboard is being used and E2B is set up for a US keyboard (see the \_ISO\Sample_MyE2B.cfg file for details on how to change the keyboard)!
You can prevent the user from seeing the payload file names as they are enumerated/listed, by setting the redir variable - see here for details.
You could also set the Hidden and System Attributes to hide the files from Windows.


Indufor Oy, one of the world's leading companies in the fields of forestry and forest industry consulting, today announced the establishment of Indufor Asia Pacific Limited, located in Auckland, New Zealand.
Indufor Asia Pacific has recruited 10 highly capable consulting staff and will further expand its Auckland-based operations. Indufor and Indufor Asia Pacific together aim to become a leading provider of independent advisory services in the global forestry sector.
Forestry's role in carbon sequestration.
Their expertise complements Indufor's track record in forest industries development, land use planning, forest asset valuation, social risk management, rural development, environmental management, carbon trade, REDD and bioenergy. Indufor and Indufor Asia Pacific will share common values and operate under one company culture. Their work is driven by a wide range of public and private interests.
Bill Liley, Managing Director of Indufor Asia Pacific, observes that, "recent patterns of change in forest resource management and forest investment present new opportunities for our clients, and deserve targeted consultancy services. Our Auckland- based personnel have on-site experience in 25 countries and look forward to expanding frontiers. There will be ongoing development of the services they have provided in their previous consulting careers".
A description of Indufor´s personnel and services is provided on the company website www.indufor.fi and www.indufor-ap.com. Indufor Oy is a company with its head office in Helsinki, Finland.


text:
AVA shares details of 2023 conference
The festival and conference will return in February, with Hot Chip's Alexis Taylor and Joe Goddard to take part in a headline keynote interview.
By Liam Konemann
AVA, the festival and conference celebrating electronic music and digital visual arts, has revealed plans for its annual conference. Taking place on Friday 24 February at Printworks, the programme's selection of talks and workshops will focus on the key themes of innovation, diversity, sustainability and the future.
The conference will feature a headline keynote interview with Hot Chip's Alexis Taylor and Joe Goddard, who will discuss their experience as one of the UK's best known crossover electronic acts.
Elsewhere, Sherelle will speak about Beautiful, the organisation that offers resources for black and queer artists, inspired by her own experience within the industry. A further panel led by the Association for Electronic Music (AFEM) will explore neurodiversity in the music industry, as AFEM present the results of their research with a selection of experts and artists and will look at ho leaders can empower neurodiverse colleagues and artists.
Commenting on the programme, AVA Founder Sarah McBriar says, 'As a festival, AVA seeks to push the boundaries of immersive arts, music and technology and we carry this ambition through to our conference which continues to bring music fans, talent and industry together each year to explore the most pressing challenges and opportunities of the moment. Our collective focus as an industry on diversity, innovation, and sustainability has never been more important in driving our future success. With more names still to be announced, we are excited about getting together for one last time at Printworks before its closure, with a view to plotting a path for the continued growth of electronic music and arts in the UK.'
Tickets for the conference are available from Kaboodle here.
The Oram Awards announce 2022 winners
The ceremony will take place in November at Huddersfield Contemporary Music Festival 7.30pm at Bates Hall.
By Maya Radcliffe 31 Oct 2022
The Secret DJ: Halloween weekend is the stuff of nightmares
In their latest column for M Magazine, anonymous author, artist and activist The Secret DJ, deep dives into the business of Halloween and how a lifetime spent in clubs has resulted in a fear of Thriller and Harley Quinn.
By The Secret DJ 28 Oct 2022
The Secret DJ: 'Nobody but you sees the first draft'
In their latest column for M Magazine, artist, author and activist The Secret DJ conducts an industry experiment to find out what defines a respectable demo in the modern-day music business.
By The Secret DJ 26 Sep 2022