After two years in the Air Force, Ken Jones�began his career at MFA Insurance Cos. on March 1, 1956.
Jones would go on to essentially make the same 0.8-mile trek from his Columbia ranch home to the same office building for the next 40 years.
Though kids might not always know what their parents actually do for a living, Jones clearly affected at least two of his three children. His daughters, Janice Nelson and Paula Brown, followed in his footsteps and have spent the majority of their careers at their father's professional home.
Nevertheless, as�youngsters, when Janice or Paula would ask what the elder Jones actually did at MFA, his trademark wit quickly emerged: "Well, MFA stands for 'Mostly Fooling Around.' "
In 1981, MFA would be rechristened Shelter Insurance Cos.
Upon his retirement in 1996, Jones' title was director of product development. Basically, his final professional responsibility was to convert legal insurance jargon into "easy-to-read" consumer language.
The secret to Jones' success, at home and at work, however, also might be found in this job description. "It was actually my dad who was 'easy to read,' and everyone, everywhere, loved him for it," daughter Paula Brown said.
Jones' former colleague Jerald Mason said, "Ken's knowledge was respected by all, and he was often a go-to guy for his ideas. Ken never met a stranger, and a good-natured joke was always at hand."
Former associate Martha Traxler added, "He always supported me as a working mother. Ken was like a brother to me � we were like a family."
Essentially a product of the�"Mad�Men"�"do as I say, not as I do" business world of the 1960s, Jones proved to be ahead of his time as a leader who promoted collaboration, shared goals, open communication, empathy and family life balance to motivate those around him.
As one who now lives in Naples, Fla., I know�it is easy to find titans of industry � those who have achieved extraordinary success as members of the corporate C-Suite or as visionary entrepreneurs. However, the vast majority of Americans make their living essentially helping other people make money.
Jones is one of countless unsung industry heroes who helped said others achieve their "titan" status � an accomplishment equally deserving of our admiration and respect.
Though Shelter Insurance was his workplace, Jones' greatest achievement was his ability to provide shelter at home. Daughter Janice Nelson said, "Dad was the same down-to-earth man at home or at work. He is truly one of the good guys."
Jones himself quips, "I am the last of a dying breed � I've only had one job and one wife."
As for his "black sheep"�third child who rejected the family business, he just wrote a Father's Day-inspired business column honoring the considerable accomplishments of his incomparable dad.
For every father who has attempted to be a role model to his children, may you one day see definitive proof of the impact of your actions.
Because even at 81 years old, my dad � humorous, honest, humble and easy-to-read Ken Jones � can be summed up in two words: He's perfect.


Perth/Oslo, 12 April 2016 - The International Gas Union (IGU) today released its 2016 World LNG Report, which demonstrates how the global LNG industry is poised for growth and plays a key role in expanding access to natural gas in the world's future energy mix. Natural gas is a vital energy resource that can lead to a lower carbon future, cleaner air in metropolitan areas, and a prosperous economic future.
LNG trade in total reached 244.8 MT in 2015, up 4.7 MT from 2014 and the largest year ever for LNG trade, surpassing the previous high of 241.5 MT set in 2011. Although the Pacific Basin remains the largest source of demand, growth was driven by Europe and the Middle East. New regasification markets formed in Egypt, Jordan, Pakistan and Poland, just in time to benefit from near record-low prices. The decline in oil prices and growing weakness in Pacific demand led all global LNG price markers to fall in 2015, from an average $15.60/MMBtu in 2014 to $9.77/MMBtu in 2015.
In 2015 global liquefaction capacity reached 301.5 MTPA. A further 142 MTPA of liquefaction capacity was under construction world-wide as of January 2016. Final investment decisions (FID) occurred for a combined 20 MTPA at Sabine Pass T5, Corpus Christi T1-2, Freeport LNG T3, and Cameroon FLNG.
In 2015, the start-up of new projects in Australia and Indonesia contributed to the growth in non long-term trade (all those volumes traded under contracts of less than 5 years), as the delivery of commissioning cargoes plus the prevalence of more flexible contracts allowed short- and medium-term trade to grow in both countries by over 3 MT year-on-year (YOY). In total, all non long-term LNG trade reached 71.9 MT in 2015, accounting for 29% of total gross LNG trade.
While the natural gas industry is undergoing fundamental changes as it operates in a historical low-price environment, the global social and political momentum illustrated by the COP21 agreements suggests that natural gas can be a critical part of the globe's future energy mix more than ever.
"Natural gas accounts for roughly a quarter of global energy demand, of which 9.8% is supplied as LNG. The 2016 IGU World LNG Report shows that a major expansion of LNG supply through 2020 positions LNG to further increase its market share. The LNG industry has developed to a point where the necessary foundations have been built to turn natural gas into a truly global commodity, enhancing both energy security and meeting growing demand," said David Carroll, President of the IGU.
Natural gas has many important benefits – it is abundant, flexible and is the perfect complement to intermittent renewables for power generation. Natural gas provides clean affordable heating for industrial processes and for commercial and residential customers around the world. Natural gas also has benefits relative to coal and oil - in terms of lower carbon emissions, of course, but also in terms of particulates and other pollutants that contribute to poor air quality and ensuing health concerns.


Tourne, Tourne, Petit Moulin – a traditional song about windmills sung in French!
This is a very popular tune and sung by most children in France.
This entry was posted in Windmills and tagged moulin, windmill on June 1, 2014 by Tower Mill.


text:
Epicauta vittata — вид нарывников из подсемейства Meloinae. Встретить взрослых жуков можно в разное время в зависимости от местообитания: с июня по сентябрь в Северной Каролине, с мая по октябрь в Арканзасе и с апреля по июнь во Флориде. Внешне схожи два вида из одноимённого рода: Epicauta occidentalis и Epicauta temexa.

Распространение
Распространён на востоке и центральной части Соединённых Штатов, на юг до Флориды, на запад до Южной Дакоты, Канзаса и Техаса. Также отмечен в Квебеке и в Онтарио.

Описание
Жук достигает длины 12—18 мм, окрашен в бледно-жёлтый и рыжий цвета с чёрными продольными полосами расположенными по всему телу от самой головы до кончина надкрылий, на голове имеются 2 чёрные полоски, на надкрыльях — 6. Лапки и усики чёрные местами буроватые.

Экология
Жук питается на различных растениях, в частности на паслёновых (Solanaceae).

Примечания

Нарывники
Животные, описанные в 1775 году

redpajama_set_name: RedPajamaWikipedia


AIMS is Tellworks web based asset lifecycle system that tracks the complete lifecycle of our customers equipment. AIMS is customizable and specifically designed to manage the varying supply chain stages of telecom network infrastructure. Our customers use AIMS to manage spares replenishment, create BOMS and determine excess. AIMS reporting capabilities are utilized by all who require material visibility to plan, procure, receive, inventory, deploy, re-use, sell, and dispose of equipment.
AIMS provides visibility to all supply chain activities related to the movement of our customer material into and out of the network. Using AIMS has helped our customers by preventing over-ordering and the buildup of additional excess. AIMS reinforces solid and reliable warehouse processes resulting in greater accuracy. AIMS tracks material and asset tag transitions to the general contractors resulting in increased accountability.
The AIMS Resale and Recycle Portal enables easy visibility and tracking of equipment for disposal. It is highly customizable and has a built-in approval flow. It allows for our customers to invite approved partners to participate in disposal of used or excess material. It posts bid notices per category and extends supplier security to only those invited to bid.
The general process for disposing of equipment using the portal is simple and straightforward, and enables the tracking of material from disposition approval through final resale or recycle.


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Q: Manually instantiating devise user models This question is related to one that I asked a couple years ago:
Instantiating Devise user models manually using contents of params hash
I am not sure if this is a rails 4 issue, but I am finding that I cannot manually instantiate devise user in my controller code. This used to work in rails 3.
class RegistrationsController < Devise::RegistrationsController

  ...
  def schema_test

    @user = User.new(:email => 'jhw@ausd.k12.edu', :password => 'asdf123', :password_confirmation => 'asdf123')
    @user.save
  end
  ...
end

This is the devise-specific part of my routes.rb:
    devise_for :users, :controllers => {:registrations => "registrations"}
devise_scope :user do
  get '/schema_test', to: 'registrations#schema_test'
end

When I call schema_test, I am finding that the user object is not getting saved to the database. Does anyone have any suggestions?

A: Best practice is to check the behavior in the rails console before you integrate it into your rails application.
The simplest way to figure out your issue is to read the error messages that devise returns. This could be caused by not meeting the password requirements and/or that the email already exists in your database.
From the root of your application, run rails c.
@user = User.new(:email => 'jhw@ausd.k12.edu', :password => 'asdf123', :password_confirmation => 'asdf123')

# Check if the user object is valid
@user.valid?

# If it comes back false, read the error messages
@user.errors.messages

=> {:password=>["is too short (minimum is 8 characters)"]}

In your example, the user is not being saved because the password is too short.

redpajama_set_name: RedPajamaStackExchange


text:
Q: WPF - свои имена столбцов в DataGrid Не могу понять каким образом установить свои наименования заголовкам столбцов?
Во View есть DataGrid, который должен выводить инфу:
<DataGrid FontSize="8"
                              Style="{StaticResource AzureDataGrid}"
                              ItemsSource="{Binding CaloriesGrid}"
                              >

                    </DataGrid>

Объект Grid, который должен выводиться в DataGrid:
public class Grid
        {
            [DisplayName("Дни недели")]
            public string Day { get; set; }
            [DisplayName("Не изменяя вес")]
            public double? CalcCalories { get; set; }
            [DisplayName("Потеря веса")]
            public double? CalcCaloriesWeightLoss { get; set; }
            [DisplayName("Быстрая потеря веса")]
            public double? CalcCaloriesWeightLossFast { get; set; }
        }

Указал атрибут DisplayName - не работает.
Пробовал во View привязать через DataGrid.Column - не получается. Точнее получается, но плюсом выводятся те же наименования столбцов, указанные в классе Grid:
<DataGrid FontSize="8"
                              Style="{StaticResource AzureDataGrid}"
                              ItemsSource="{Binding GridCalories}"
                              >
                        <DataGrid.Columns>
                            <DataGridTextColumn Binding="{Binding Day}" Width="*" Header="Дни недели" />
                            <DataGridTextColumn Binding="{Binding CalcCalories}" Width="*" Header="Не изменяя вес" />
                            <DataGridTextColumn Binding="{Binding CalcCaloriesWeightLoss}" Width="*" Header="Потеря веса" />
                            <DataGridTextColumn Binding="{Binding CalcCaloriesWeightLossFast}" Width="*" Header="Быстрая потеря веса" />
                        </DataGrid.Columns>
                    </DataGrid>


Impact evaluations conducted by EDI typically involve baseline and follow-up surveys, where treatment and comparison groups are constructed through randomised experiments, or through econometric modelling. We are adept at working with clients who are serious about building this counterfactual, as well as understanding the channels through which the impact takes effect.
Our Impact Evaluation experience covers a broad range of sectors including agriculture and livestock, economic development, education, health, social welfare, water and sanitation, and other cross cutting areas. With the methodologies we deploy and the power of Surveybe software we can easily tailor our operations to meet the needs of the particular project or unit of observation.
This impact evaluation was undertaken on behalf of the Millennium Challenge Account Tanzania (MCA-T) , part of the Millennium Challenge Corporation (MCC) in collaboration with Social Impact, with the aim of assessing water sector projects in Dar es Salaam and Morogoro. These projects are intended to improve the supply and quality of water in the two regions, and the survey aimed to measure the impact of the water works on several outcomes of interest, such as water consumption, time spent fetching water, sources of water (domestic/commercial), water expenditures, water quality at point of consumption, incidence of water-borne disease (particularly incidence of diarrhoea among children under five years), investments in physical and human capital, time allocated within the household to productive activities, and household income.
About 5000 households were sampled across Morogoro and Dar es Salaam and an extensive baseline survey was conducted spanning both the dry and wet seasons. The Morogoro sample had an additional short survey conducted prior to the longer baseline survey. All households were sampled to continue, after the baseline, for another 3 rounds of phone surveys. This implies up to 5 rounds of data for close to half the sample. Frequent data collection is useful in order to obtain more accurate measures of water availability (as water availability varies significantly over time). Water samples were collected and tested at the household, community and system levels. Rainfall data was collected from weather stations as rainfall affects water availability. Monthly reports were also obtained from the public utilities, to provide supplementary data. Finally, the survey included a qualitative component in both the survey regions, with focus group discussions and structured interviews being conducted among a range of relevant water users and suppliers, such as female water users in low-income areas, water-related business owners, various types of water sellers, community managed water source operators, and district health and education officers.
The project will exploit differences in treatment exposure across households to measure the effects of the programme. Because treatment exposure will not be random Generalised Propensity Score Matching (GPSM) and Difference-in-differences (DD) regressions will be used to control for observables that jointly determine treatment and outcomes. A secondary identification strategy is to use distance to the distribution network as an instrument for treatment.
Twaweza is collaborating with J-PAL to design a randomized control trial to evaluate and understand the effects of two interventions at 350 randomly selected public primary schools across 10 districts in Tanzania. The interventions include a school grant as well as teacher incentives, which aim to improve the channelling of resources to public primary schools for quality improvement of public education, and the learning outcomes of primary school students respectively. The baseline survey in early 2013 collected school and teacher information as well as student and household information from randomly selected classes, teachers, and students from standard 1 to 3. Participating schools were then be randomly allocated to one of four study arms, and the interventions were be rolled out in the treatment groups. In May/June and September 2013, two rounds of monitoring visits to schools collected information on teacher attendance and activities within schools. An end-line survey during late 2013 again collected teacher and school data, as well as information from students and households interviewed and tested during baseline.
EDI continued to work with TWAWEZA and IPA/JPAL on these experiments throughout 2014 and we are just embarking on the experiments for 2015 with them.
This was a randomised control trial of a virtual business incubator project. A survey of 832 women, a random selection of whom have been given specialised business training through a virtual business incubator project. This project, implemented on behalf of the World Bank, aimed to establish whether lack of business skills is a constraint to development and emancipation of female entrepreneurs and, if so, whether specialised training can make a difference.
A Randomised Impact Evaluation This 5 year panel survey, commissioned by the World Bank and TASAF, follows a treatment and comparison groups of vulnerable people, who participate in a community driven development project. Impacts will be identified through the staggered introduction of the project in 50 of the 100 sampled communities. This project involves a complicated listing exercise in which a short questionnaire is administered to everyone in the village (around 50,000 households in total) to assess the targetting efficiency of the programme as well as to stratify the sample within the village and oversample vulnerable groups.
The Amsterdam Institute for International Development (AIID), together with the Amsterdam Institute for Global Health and Development (AIGHD) are implementing an impact evaluation of the Kilimanjaro Native Cooperative Union Health Plan (KNCU HP), one of the Health Insurance Fund programs rolled out by the PharmAccess Foundation in four countries in Sub-Sahara Africa. As part of this impact evaluation, in 2013 EDI conducted a large-scale baseline survey that collects socio-economic, health and biomedical information from around 1,500 coffee-growing households in the Kilimanjaro region. Some of these farmers will be provided the insurance product and other not. A follow-up survey with the same households is being conducted in early 2015. The study aims to quantify the impact of the project by comparing differences between treatment and control groups. Take-up is a key concern in micro-insurance and this study aims to study it by comparing farmers in treatment villages who did not purchase insurance to those that did. The study intends to make a contribution to the literature on micro-insurance as well as providing immediate feedback to the implementing partner of the KNCU Health Plan.
In collaboration with the Centre for the Study of African Economies (CSAE) at Oxford university, EDI has implemented several rounds of surveys on African Competitiveness in light manufactured goods. They were initiated and funded by the World Bank's Research Department and the Africa Region's Financial and Private Sector Development Department. The survey was conducted in Tanzania, Ethiopia, Zambia and China. The objective is to understand why African countries import instead of producing some of the most simple manufactured products that they consume. About 200 young entrepreneurs presented their business ideas before a committee of experienced managers. The best 16 applications received a start-up grant of US$1,000. Surveys track the senior committee members in addition to the successful and unsuccessful young candidates.


It feels like yesterday the sun was shining, it was 85 degrees out and we were just unveiling our summer beers for you, but time doesn't stop for anyone and like that fall is officially here! Luckily, we are releasing four new beers to keep you warm as the seasons change! Click on any of the photos for more details on each beer and head over to our blog for the backstory on each. Make sure you're to check out our new club options, and become a member of our Blender's Circle if you want to have access to all of them! November 11th is the official release at our tasting room, so mark your calendars!


Did you know that traditionally the first year of marriage is celebrated with paper?
Illustrated prints are a great way to incorporate special memories from your wedding day and collect some keepsakes for your home.
Here are our top picks for celebrating the first year of wedded bliss.
Personalised with your names and wedding date the 'You and Me' Personalised Print was created from hand drawn lettering and flower illustration. Sized 8 x 10 inches, printed onto high quality paper (300gsm).
Celebrate with whimsical illustration of you and your love. Once you have placed your order simply send over some photos and let us know what you both would like to be wearing in your bespoke illustration. Sized 8 x 10 inches, printed onto high quality paper (300gsm).
A great choice for couples that love cycling. Personalised with your names and wedding date. Sized 8 x 10 inches, printed onto high quality paper (300gsm).
And these brand new custom prints to celebrate 'your song' are made to order for only £25 each. Get in touch to place your order.


text:
Warrington Wolves
Positive signs for Wires future.........
By Latchford Locks,
November 2, 2010 in Warrington Wolves
Latchford Locks
Location...Ten minutes walk from Latchford
Looking at the nominations for the Rugby League International Federations team of the year it was wonderful to see our players getting so many nominations amongst the worlds elite players.Special "well done's" to Chris Riley and Ben Harrison.Makes me think we really are arriving as a top side at long last and folk are sitting up and taking notice....
http://www.sportinglife.com/rugbyleague/news/story_get.cgi?STORY_NAME=rleague/10/11/02/RUGBYL_Awards.html
While the future is bright there has also been some concerns raised that a good proportion of the team are not getting any younger and while we have got to focus on home grown local talent mor ein the future, I think there is room for a fair bit of strengthening at the end of next season.
Matt King and Chris Hicks are going to be hard acts to follow.
Teessidewire
LocationStockton on Tees
The main reason for the lack of young talent in the past is the fact that we neglected our juniors to the extent that at one stage we gave up having junior sides. It's only in the last couple years (Ben Harrison and Chris Riley) that we've had anyone at all coming through since Paul Wood in 2001. There's a good crop of young players justing starting to come through the ranks, and if the story in League Weekly about the kid from Bradford is true then it looks like we may have another one.
I think that King, Solomona, Hicks, and Clarke will all be let go at the end of next season. It's a massive year for Mike Cooper, he really needs to push on now, and I would also be looking at the Welsh kids and Tye McCarthy to make an impact.
Adrian Morley...International prop of the year..congratulations well deserved
theinsider
and should have been man of steel!
I second that !
Maybe next season,but the clock is ticking not a lot more seasons to do it
safeway56
Could we have seen the last of Moz ? He's got a serious injury which is seen more often in older people. He's had 15 years at the top being battered week in week out which must take a toll on his body.
Crikey Safe's don't even go down that road
May be not Moz - but it will be bye bye Kingy and Hicks this year and probabky to some of the other old timers!
The kids are going to have to stand up and be counted this year.

redpajama_set_name: RedPajamaCommonCrawl


text:
Sedum tsiangii är en fetbladsväxtart som beskrevs av Fröderstr.. Sedum tsiangii ingår i Fetknoppssläktet som ingår i familjen fetbladsväxter. Utöver nominatformen finns också underarten S. t. torquatum.

Källor

Fetknoppssläktet
tsiangii


What themes have you noticed or realized more in your own life? What's God been stirring inside of you?
As we wind down summer, so many of you have changes on the horizon. For some, it's watching your baby go off to kindergarten…or college. For some of you it's a new job, or a new marriage.
Wherever you're at, I encourage you to find some time alone with the Lord.
Take some time to read from the Psalms and hear from Him today. Come before Him with your to-do lists, with all that is on your plate. Ask Him to accomplish His agenda in your life. Ask Him to give you eyes to see what really matters, and to love as He loves.
This is SUCH an interesting week of scripture. I've so enjoyed realizing the history of this Old Testament book and learning of its application in the New Testament. This week we'll divide the chapters into two sections. Both very unique in their own way.
One, these very words that are on the pages of my Bible are the very same words Jesus knew, recited and probably sang with His disciples. What a privilege to read and know the very words Jesus knew.
Two, and this is way off topic, but…what was Jesus' singing voice like? What did it sound like when my Savior lifted up his voice in song to praise His Father? What did it sound like in that upper room with those twelve men singing a hymn? It's an incredible scene to imagine.
As you read through chapters 113-118 this week, let your heart praise Him, remembering the text's significance.
2. Psalm 119. With 176 verses, this is the longest chapter in the Bible. Its theme and encouragement is to love and obey God's instructions. This psalm paints a beautiful picture of what it is to "hunger and thirst for righteousness" (Matthew 5:6). The psalmist has come to realize the treasure of God's words and has committed to obey all that it says. Having spent all summer with you in His word, this chapter feels so alive. His Word is a treasure, "a lamp to my feet and a light for my path…my heritage forever, the joy of my heart" 119:105, 111.
What themes have stood out to you over these 10 weeks? You can leave a comment here below.


As I was born practically on the Volcan of San Salvador, I very well know almost every part of it. With me, you will really feel like an insider! I know some wonderful national eco-parks, delicious restaurants, exciting trails to ride bikes, underrated paths to discover amongst other beautiful and precious sites. I can assure you that after that experience with me, you'll have seen all that needs to be around the area. Depending on what you like most, I will customise a journey for you. The most important is that you will have a wonderful time here! I will share my passion for my country and this area with you. My objective is to share with you my knowledge of this amazing site that I know like the palm of my hand. It's a beautiful and safe place to travel and I would love you to enjoy it like I do.


text:
E-mail: mark@mbac.co.za
Medical Device Regulation
SAHPRA Requirements
Office of Health Products Procurement
In the News, NHI
The Office of Health Products Procurement (OHPP) is an entity newly introduced in the 2019 version of the National Health Insurance Bill. Spotlight asks what it will mean for procurement under NHI.
By Nkululeko Conco for SPOTLIGHT from Daily Maverick
While much remains unclear about the rationale for, and function of, the Office of Health Products Procurement (OHPP), the National Health Insurance Bill (NHI) nevertheless gives us some important pointers.
The NHI Fund has various functions, which include actively purchasing health goods and health-related products from healthcare service providers, health establishments and suppliers that are certified and accredited in accordance with the provisions of the National Health Insurance Act, the National Health Act and the Public Finance Management Act. From section 10(1)(b) of the bill, it appears that the Office of Health Products Procurement (OHPP) will be housed in the NHI Fund and is intended to support the NHI Fund by actively purchasing health-related products.
What is a "health-related product"?
The bill defines health-related products as "any commodity other than orthodox medicine, complementary medicine, veterinary medicine, medical device or scheduled substance which is produced by human effort… for medicinal purposes or other preventative, curative, therapeutic or diagnostic purposes in connection with human health". The definition is confusing and excludes medical devices that fall under "health goods". The phrase "orthodox medicine" is not found in the Medicines and Related Substances Act and is not defined or used elsewhere in the bill.
The Fund is still responsible for purchasing health goods but medical devices (a form of health good) are meant to be procured by the OHPP. Health goods are defined broadly to include "medical equipment; medical devices and supplies… for the promotion, preservation, diagnosis or improvement of the health status of a human being". The law must be as clear and as certain as possible – unfortunately, as the above shows, the parameters within which the OHPP will operate are uncertain.
Section 38 of the National Health Insurance bill provides a little more detail on the OHPP. It says the office will be the central body for the public procurement of health-related products as well as medicines, medical devices and equipment for the accredited facilities. This will be done by determining the selection of products to be procured; developing a national products list; coordinating the supply-chain management process and negotiating prices; facilitating cost-effective, equitable and appropriate public procurement of health-related products; supporting the process of ordering and distribution of products nationally; as well as facilitating the procurement of high cost devices.
How will the Office of Health Products Procurement know what to buy?
The bill does not make it explicit that the OHPP must determine what to procure in conjunction with the Benefits Advisory Committee and district health management offices or that it will conduct regular inspections to assess the needs of facilities in terms of the quantity and specifications of products required. These would be very helpful as the benefits package informs what will be treated and some facilities will already have the necessary medical devices that will need to be maintained appropriately.
Will the Office of Health Products Procurement make decisions on behalf of private service providers?
According to the bill: accredited healthcare service providers and health establishments must procure according to the formulary, and suppliers listed in the formulary must deliver directly to the accredited and contracted healthcare service providers and health establishments. Dr Anban Pillay, deputy director-general in the Department of Health, says both public and private facilities have access to the products purchased through the OHPP, as contracted healthcare service providers and health establishments may order directly from and pay the supplier.
This arrangement massively increases the amount of procurement going through the government system, without reducing any of the risks of corruption, overpayment, or purchasing of sub-standard goods. In addition, in a worst-case scenario, it might limit private sector providers to purchasing from providers of sub-standard goods.
Can a single purchaser improve affordability or availability?
Can a single purchaser improve affordability, availability and acceptability of healthcare in order to fulfil the constitutional objective of access to healthcare services?
Yes. The principle of procuring goods in bulk through a single-payer should, in an open and competitive market, reduce the cost of the goods purchased since suppliers will all have to compete to provide to a single buyer with immense negotiating power.
However, for this to work, we will require an efficient, transparent and accountable OHPP. If the OHPP is not all these things, it may become a vehicle for large-scale looting.
Unfortunately, the current version of the NHI Bill overlooks the harsh reality that health sector tender processes are often gamed and marred with controversy.
Will the Office of Health Products Procurement ensure better access to medicines?
Purchasing medicines through a single supplier could play out in various complicated ways. Under the right conditions, it could, as has been the case with antiretroviral tenders, lead to much-reduced medicines prices. On the other hand, there is an argument that higher private sector prices have in effect subsidised lower public sector prices for some medicines and that the loss of this dynamic might lead to some price increases. While this argument doesn't really hold with hugely profitable pharmaceutical multinationals, it does point to the complicated dynamics at play.
The OHPP will of course also be hamstrung by various other factors currently affecting procurement. The slow pace at which SAHPRA (South Africa's medicines regulator) is registering new medicines can delay both the introduction of new medicines and generic versions of existing medicines. It is a situation that will in time hopefully be remedied through the extensive reforms and the backlog clearance programme underway at SAHPRA.
Similarly, medicines procurement, in particular, will continue to be affected by the fact that South Africa's patent laws are unusually favourable to foreign pharmaceutical companies and routinely allow for over-patenting. Cabinet's adoption of a more balanced IP policy in mid-2018 was a step in the right direction, but the law reform that should implement that policy seems to have stalled – something that will result in some medicines prices being higher than they should be, and other medicines not being affordable through the OHPP, no matter how well it is structured.
Article from Daily Maveric
Nkululeko Conco is an attorney at SECTION27 where he works in the health team.
This article was first published on Spotlight.
See other articles on the National Health Insurance bill
06/11/2019 Anban Pillay, Medical Devices, OHPP, Procurement, SAHPRA
COVID-19 exposes our "covert" healthcare crisis
Coronavirus Q&A: Will rapid antibody tests save SA?
Covid-19: Opportunity for Investment in South Africa's healthcare sector
The unknowns of NHI are exactly what we should be afraid of
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Product Details - Material- Non abrasive material for the most persistent of the chewers,Use - Gently massages the gums and keeps tartar away, Non toxis and durable, Dimensions -15 cm.
Product Information - Rubba Gumma Bone Toy. It suitable for dogs of all breeds 2 months onwards. Color may vary depending upon the stock. Pet Brands.Buy pet supplies online from the leading pet product store in Mumbai. Order pet accessories online from the best pet product store.their gums. Rubba Gumma is made from natural gum rubber and is non toxic. chewing while cleaning teeth and the unique design helps to massage, The delicious minty flavor will encourage.


Sportswear label Nike adorned its signature Air Max 270 sneakers in a variety of different colorway this year -- its latest iteration completes the silhouette in a mix of Summit White and Arctic Pink. This new tonal option is exclusively available in women's sizes and in addition to the two tones, the model also sees some touches of floral prints throughout the uppers. It is predominantly white with the aforementioned colorful floral design in a panel at the mudguard, the insoles and the heel pull tab.
The Arctic Pink color comes in at the Swoosh branding, the Air Max 270 accent on the side and at the outsoles. The signature Air bag unit of the footwear model is complete in a light blue transparent color.


text:
\ Evaluate the principles underpinning how audiences are addressed
Evaluate the principles underpinning how audiences are addressed Essay
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'Gendering is one of the key ways in which advertisers target specific audience sectors. With close reference to research in the field, critically evaluate the principles underpinning how audiences are addressed as either 'male' or 'female' and map out the ways in which advertisers create differential 'wants' and needs'.
It is widely acknowledged that for years advertisements have used certain gender representations to target specific audiences (potential buyers).Body images portrayed by the media through the use of imagery, the display of life-styles, and the reinforcement of values, are communicators of culturally defined concepts such as success, worth, love, sexuality, popularity, and normalcy. Of particular concern over the past two decades has been the excessive use of sexual stereotypes, especially those of women. Stereotypes are oversimplified conventional character, often gender, representations.
Throughout this essay I shall analyse the gender representations that underpin the discourse of advertising. In particular, I shall focus on the use of male and female bodies as organizing metaphors which produce a gendered framework for advertising different types of products. I shall consider who the advertisements are targeted at (whether they are targeted at a particular gender) and what such advertisements reveal about the ways in which 'masculinity' and 'femininity' are shaped within the spaces of everyday life, taking into consideration the affects and influences they have on society.
The media plays a vital role in our society, especially in developing opinions of a targeted audience. It has an intensifying effect on its viewers and sets the trend as to how everyday life should really be. Advertisements are also a powerful source of information. One can see that the advertising medium influences many people of all ages and genders. The media not only develops audience opinion but also conveys imagery which reflects the the attitudes of many societies and cultures hence television advertisements are likely to play an active role in shaping cultural values (Manstead & McCulloch 1981). It is this imagery and the way that it influences both the male and female targeted audiences that I endevour to discuss in this essay.
Within an advertisement we may find sex stereotypes that indicate to the audience a structured set of beliefs about the personal attributes of men and women. It is these stereotypes which have distressing effects on individuals. For e.g. women in advertisements play the roles which the product demands. They are seen as slim, attractive, successful, whilst men are predominantly attractve and authoritative over their female counterparts. The men and women in the advertisements therefore can act as role models for each gendered audience and persuade the viewer of the way men and women are actually portrayed within society.
'Because advertising is a dominant feature, its influence on daily life through the creation of role models and the depiction of social interaction probably affects real-life power relationships…' (Holly 1975)
Durkin (1985) also emphasised the importance of role models. He argued that television models are particularly salient to children for sex role socialisation. Durkin conducted a study where young children watched a selection of television material, which showed male and female stereotypes. Durkin interviewed the children about the material and concluded that children are able to develop scripts of sex roles, which are often consonant with the stereotypes perpetuated in television Nevertheless, Durkin emphasises that extensive research is required in order to investigate this connection. Durkin has also analysed British television advertisements and found that men and women were portrayed very differently. In general, women were not shown as frequently as men were. Moreover, they were less likely to have leading roles.
tootles, please do not redistribute this work. We w
Manstead & McCulloch (1981) wanted to investigate sex roles in British advertising in a way to emphasise that men and women were shown in remarkably different ways. They also stipulated that this suggests that these differences found in the portrayal of men and women correspond with the traditional sex role stereotypes. This is a clear indication that social stereotypes can be emphasised and further integrated into our social subconcious; the adverts can actually then define our use of stereotyping in society. Therefore, instead of losing old stereotypes through social progression the old ideals continue to be reinforced by the advertising media.
A first example of gender stereotyping is that of the female sex object. The Renault Meganne advertisement[URL], portrays a highly sexualized representation of femininity, featuring a young model wearing a very short, tight-fitting dress that expresses her sexuality. The caption 'Get the figure you've always dreamed of' is a clever play on words, referring to both the shapely female model and the shapely car. It is clearly aimed at women, suggesting to them that by buying the car they'll 'get the figure they've always dreamed of' as they'll drive and be inside such a sleek, attractive car. This also implies that by driving such a car, they'll obtain a highly desirable image and reputation, like the model who is assumed to drive that car. The advertisement conveys the advantages to women of buying the Renault Megannne by communicating the culturally desirable concepts of sexuality, beauty and popularity. The advertisement for the Citroen Xsara[URL] also portrays women as sex objects who are primarily concerned with their image. It features supermodel Claudia Schiffer seductively undressing, ending up naked, and displays the caption, 'The only thing to be seen in this summer'.
The successful and financially secure male stereotype is portrayed in the BMW M3 advertisement [URL], which features a good-looking young male executive, dressed in a suit,driving the car at what appears to be a high speed. He conveys the culturally defined concepts of success, worth and wealth. This advertisement concentrates on the technical, mechanical advantages, as opposed to those of the individual's image. Technology is conventionally a masculine concept, and this, along with the fact that the advertisement features a man, suggests that it is aimed at men. A second example of this stereotype is found in the Porshe 911 advertisement[URL], which again features a man and concentrates on the technology and mechanics of the car.
The female stereotype of the housewife and mother is represented in a number of car advertisements, including that for the Toyota Tarago[URL]. This advertisement shows a stressed mother frantically trying to get her children out the house and into the car. Once she is driving, she looks very happy and relaxed, seemingly unaware of her children squabbling in the back. It is evidently targeted at mothers, a point which is highlighted by the fact that the advertisement emphasizes the safety, convenience and practicality of the vehicle – factors we see as women's concerns – rather than 'speed, performance and handling,' which are factors we associate with men[URL].
The stereotype of the adventurous, heroic, wild male is evident in the Freelander advertisement[URL]. It pictures a man driving the four-wheel-drive across a rugged terrain in the wild. The caption, ;quot;Freelander. Get your hands on one;quot; complements the convention that men like to use their hands and tend to take the ;quot;hands-on;quot; approach to situations. This advertisement conveys the stereotype of the brave, heroic man, thus targeting men. It conveys the typically male desire of machoism. A second car advertisement using this stereotype is that for the Volkswagen Golf[URL], which shows a man braving the bad weather to admire the car. An example of gender advertising in car campaigns see figure 2. Here we have a very young boy looking at a G35 Coupe as if in awe of its beauty. In this advert (figure 2.) the car is the feminine aspect; and it is implying that most men from an early age like to play with fast cars as toys and then buy the real thing later in life. It infers that cars are a boys dream and that powerful cars such as this are extremely masculine.
Another form of gender stereotyping can be seen in old cigarette adverts. Womens magazines are one of the main ways that the tobacco industry used to target women. They were regarded as a selective medium for reaching and targeting audience. In addition to selectivity, magazines offer advertisers excellent reproduction quality, long message life, and the opportunity for readers to get involved with both the editorial content and advertising. Womens magazines somehow lend the advertisements some social acceptability or stylish impression because of the image of the magazine. As the health editor of British Vogue stated, the publication of an advertisement in her magazine was 'as good as a stamp of acceptability' (Amos 1997).
An example of the feminine advertising campaign for cigarettes can be seen in figure 1. This advert has a more male target to its marketing; the slogan 'cigarettes are like women, the best ones are thin and rich' reads like male orientated joke about women and therefore catches the male market by its effective humour. Although, it also implies attractiveness within women, i.e. 'thin' and 'rich'. The man is facing the audience straight on signifying a male dominance. Whilst the woman is side facing, leaning on the man as if for support – in the way that a woman might be seen to be relying on a man for whatever reason. Also, her knee is bent and she is seen to be shorter or lower than him, again sigifying a feminine weakness in the advert suggesting that women are a 'lower' gender.
Figure 1. Figure 2.
Many tobacco brands tend to hook women on nicotine with two key female aspirations: being slim and attractive. As early as the 1920s, Lucky Strikes' advertisement stating 'Reach for a Lucky instead of a sweet' began establishing an association between smoking and slimness. The timing could not have been better as slimness was coming into fashion along with bobbed hair and short skirts. The positioning of Lucky Strike as an aid to weight control led to a greater than 300% increase in sales for this brand in the first year of the advertising campaign (Howe 1984). Since it is well-documented that smokers have a lower mean weight than ex-smokers and non-smokers (Howe 1984), tobacco advertisements often imply this notion to appeal to those women with relentless desire of being slim. Slim female models are often depicted smoking cigarettes with copy lines that tend to emphasize words such as light, slim, ultra slim, slim line, slender and long. While supposedly describing the versions of the cigarettes, these copy lines also reinforce the female perception of slimness.
Some common themes are used in cigarette advertisements to portray smoking as the habit of attractive women. For example, advertisements often feature young attractive females smoking in the company of laughing friends, with an attractive man usually in a romantic setting, or simply proclaiming her sexual allure. Tobacco companies tend to hire young models in their advertisements because of their attractiveness.
Harris and Stobart (1986) conducted a study which was an extension of Manstead & McCulloch's (1981). They made small changes to the categories, and also added two new categories to the original data sheet used by Manstead and McCulloch (1981). Once again, Harris and Stobart (1986) found that there are many deviations in the way men and women are portrayed. Moreover, these differences are consistent with the traditional sex role stereotypes. In addition, they noted that this phenomenon is much more evident in the evening when compared to the daytime. Harris and Stobart (1985) concluded that this phenomenon is unusually complex, in that the way men and women are shown change during the course of the day.c
The hypothesis, that there is a marked difference in the way men and women are portrayed in British advertisements was not supported. This study fails to replicate the findings of psychologists like Manstead and McCulloch (1981) and Durkin (1985a). There are many differences in the findings of these studies and the present study.
Manstead and McCulloch (1981) found that 66% of the advertisements were with a male as the central character, by comparison with the present study, 37%. It was also found that females were the central characters in 56% of the advertisements. However it must be noted that the timings of the both studies are very different, this may have played an important part in the observation of the advertisements. This is because Harris & Stobart (1986) stated that the visual modality of males and females change over the course of the day. They reported that females were dominant through the daytime and male pre-dominated the evening advertisements.
Although the findings were not significant, there was one finding which was similar to that of Manstead & McCulloch (1981) and McArthur & Resko (1975). Both these previous studies found that there was a tendency for females to be portrayed in dependent roles and males shown in autonomous role; also females were shown at home more often than males and males were more likely to be shown at work than females. The present study summarised the observations as percentages. It was found that 23% of females were portrayed in dependent roles compared to 4% of males. In addition, 27% of females were shown at home compared to 6% of males being shown at home. Moreover, it was found that 2% of females were shown at work whereas 10% of males were shown at work.
There may be a number of reasons for these differences. There were many groups of observers, however the groups were not set any guidelines as to when the observations should be made. That is, there was no observer inter-rater reliability. Harris and Stobart (1986) found that the portrayal of men and women changes during the course of the day. Moreover, these differences are much more evident in the evening than the day. Thus, one group may have conducted the observations during the afternoon and another group may have conducted this during the evening, which may have lead to differences.
In conclusion, the methods of persuasion used in advertising, instead of concentrating on the actual product, usually concentrate on the benefits that will be brought to the consumer. The advertisements play on the personal, emotional desires or interests of the audience they are targeting. For example, they tend to focus on image and style when aiming at women and power and adventure when aiming at men.
'If advertising were to emphasise such honest self-expression rather than focus on women reflected through male eyes, it might serve as a forum for womens voices.'(Catterall, Maclaren, Stevens, 2000.)
It has also been found that usually women are portrayed as subordinate to men and also noted that women are shown in a dim manner and portrayed as sex objects (Manstead & McCulloch, 1981). A number of studies have found that men are more used for voice-overs. One reason for this may be because the male voice-over provides authoritative information which is an essential feature of advertisements. Therefore gender stereotyping is a very effective marketing tool used to target a select group audience of a certatin gender, thus gaining the highest sales potential for each marketed product. It is also clear that gender stereotyping has had its roots deeply embedened within our society and cultures, again, re-enforcing old habitual stereotypes onto new audiences. So it is pertinent to conclude on the note that stereotypes bind the advertising media together and will continue to be a significant aspect within all advertisements now and in the future.
McDonald's organizational systems and sub systems Consider the proposition that Dr Iannis
Challenging Stereotypical Sex-Roles: A Discourse Analysis of Gender
Theories of how gender may influence music have developed
Ethos Pathos Logos Analysis
Raising Children Without Gender Stereotypes
Herculine Barbin and Gender
Good Housekeeping the Second Shift
Sex and Temperament


You will find many health advantages to ongoing the working out schedule you maintained throughout the warmer summer time several weeks on with the winter.
Physical exercise will improve your defense mechanisms by enhancing your lymphatic and cardiovascular circulation. However, the results of exercise on enhanced immunity are short resided. To optimize these good effects, it's vital that you get some exercise regularly. Additionally towards the increase in immunity, exercise likewise helps lower stress and ease the wintertime blues termed as Periodic Affective Disorder (SAD). Periodic Affective Disorder might be triggered by a mix of factors for example insufficient sunlight, lack of exercise and never getting proper diet – especially enough Vitamin D. Regular moderate exercise helps release essential hormones to help keep the blues away. Additionally towards the energy boost and helping with weight loss, moving your exercise outdoors can help increase your Vitamin D levels.
Working out outdoors could be fun (snowball fight anybody?) and rewarding, but take time to organize for that outside weather. It's suggested that you simply dress yourself in layers so that you can remove or unzip one layer when you get hot. Your first layer ought to be something made from a skinny sweat-wicking fabric. The center layer ought to be a thicker sweat-wicking fabric like fleece and running tights or pants. Half-zip tops work nicely with this layer. For that top layer, you'll want something that's wind and water-resistant. Once correctly outfitted make sure to warm-up before you begin working out. Take additional time starting to warm up and begin out easy. Additionally to dressing properly for that outdoors temps, you should also avoid dehydration. We have a tendency to drink less in the winter months because it's cold, however your body still needs water to operate correctly. When working out outdoors during the night, remain in well lit areas and put on vibrant reflective clothing.
If the thought of an outside hike or run within the cooler weather is simply not inviting for you, you will find many indoor options. You are able to construct your own gym for around $50. Some hands weights, a workout ball along with a jumping rope are all that you should have an effective workout. You may also make your own workout by mixing popular and efficient calisthenics like lunges, squats, planks, runs, push-ups and crunches. If you're already fit, integrating hands weights or perhaps an exercise ball, together with the calisthenics will raise the intensity. Various fitness magazine websites have calisthenic type workout videos that you could view. You will find also workout routines that need no equipment whatsoever. "No equipment" workout routines make use of your bodyweight because the resistance within the exercises, you just need some open space and you're all set. Dvd disks and television could be a good source for workout routines like yoga or bikram yoga. Local libraries offer exercise Dvd disks you should check-out free of charge. You might walk in a nearby mall. Many malls have walking programs/clubs had you been can make new friends and remain motivated. And lastly, an intramural sports team or group workout routines are a couple of other great options.
Whether your exercise goal would be to slim down, shape your physique or get a lean body and fitness, keeping motivated will help you become successful. Tiny problems can keep you motivated, for example meeting a buddy to have an exercise class. Treat yourself for maintaining a workout schedule or getting met an objective. Treat yourself having a movie evening, a brand new set of running footwear or DVD. A happy and healthy household is also motivating. Turn "WiiFit® night" right into a regular fun family activity to help keep active and spend some time with the family all simultaneously.
Whether you decide to exercise outdoors or inside throughout the cooler several weeks, staying motivated to remaining fit is essential. Health is worth the effort for your family.


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Q: XML parsing to transform json using dataweave 2 I am trying to parse an XML recursively to create JSON array using dataweave 2 but I am not able to do so.
My Input XML is given below -
<?xml version="1.0" encoding="utf-16"?>
<MessageParts xmlns="http://schemas.microsoft.com/dynamics/2011/01/documents/Message">
  <BillsOfMaterials xmlns="http://schemas.microsoft.com/dynamics/2008/01/documents/BillsOfMaterials">
    <SenderId>121</SenderId>
    <BOMVersion class="entity">
      <BOMId>BOM0012605</BOMId>
      <ItemId>9650084</ItemId>
      <ItemIdCommercial></ItemIdCommercial>
      <Name>SmartRip for Folding Carton</Name>
      <RecId>5637161103</RecId>
      <BOMTable class="entity">
        <BOMId>BOM0012605</BOMId>
        <Name>SmartRip for Folding Carton</Name>
        <RecId>5637160354</RecId>
        <BOM class="entity">
          <BOMId>BOM0012605</BOMId>
          <BOMQty>1.0000</BOMQty>
          <BOMType>Item</BOMType>
          <ItemId>9650092</ItemId>
          <RecId>5637307757</RecId>
          <UnitId>PCS</UnitId>
          <InventDimBOM class="entity">
            <RecId>5637213290</RecId>
          </InventDimBOM>
          <BOMTable>
            <BOMId>BOM0012613</BOMId>
            <Name>FlexRip Classic Intel kernel and tools</Name>
            <RecId>5637161355</RecId>
            <BOM>
              <BOMType>Item</BOMType>
              <ItemId>9650079</ItemId>
              <BOMQty>1.00</BOMQty>
              <UnitId>PCS</UnitId>
              <BOMId>BOM0012613</BOMId>
              <RecId>5637307799</RecId>
            </BOM>
            <BOM>
              <BOMType>Item</BOMType>
              <ItemId>9644919T</ItemId>
              <BOMQty>1.00</BOMQty>
              <UnitId>PCS</UnitId>
              <BOMId>BOM0012613</BOMId>
              <RecId>5637307800</RecId>
            </BOM>
            <BOM>
              <BOMType>Item</BOMType>
              <ItemId>9644920</ItemId>
              <BOMQty>1.00</BOMQty>
              <UnitId>PCS</UnitId>
              <BOMId>BOM0012613</BOMId>
              <RecId>5637307801</RecId>
            </BOM>
            <BOM>
              <BOMType>Item</BOMType>
              <ItemId>9700720Z</ItemId>
              <BOMQty>1.00</BOMQty>
              <UnitId>PCS</UnitId>
              <BOMId>BOM0012613</BOMId>
              <RecId>5637307802</RecId>
              <BOMTable>
                <BOMId>BOM012173</BOMId>
                <Name></Name>
                <RecId>5637157832</RecId>
                <BOM>
                  <BOMType>Item</BOMType>
                  <ItemId>9700595</ItemId>
                  <BOMQty>1.00</BOMQty>
                  <UnitId>PCS</UnitId>
                  <BOMId>BOM012173</BOMId>
                  <RecId>5637333626</RecId>
                </BOM>
              </BOMTable>
              <BOMTable>
                <BOMId>BOM012173</BOMId>
                <Name></Name>
                <RecId>5637157832</RecId>
                <BOM>
                  <BOMType>Item</BOMType>
                  <ItemId>9700595</ItemId>
                  <BOMQty>1.00</BOMQty>
                  <UnitId>PCS</UnitId>
                  <BOMId>BOM012173</BOMId>
                  <RecId>5637333626</RecId>
                </BOM>
                <BOM>
                  <BOMType>Item</BOMType>
                  <ItemId>9608224Z</ItemId>
                  <BOMQty>1.00</BOMQty>
                  <UnitId>PCS</UnitId>
                  <BOMId>BOM012173</BOMId>
                  <RecId>5637333627</RecId>
                </BOM>
              </BOMTable>
            </BOM>
            <BOM>
              <BOMType>Item</BOMType>
              <ItemId>9683336L</ItemId>
              <BOMQty>1.00</BOMQty>
              <UnitId>PCS</UnitId>
              <BOMId>BOM0012613</BOMId>
              <RecId>5637307803</RecId>
              <BOMTable>
                <BOMId>BOM0012781</BOMId>
                <Name>Esko Suite 12.1 A5 Software box</Name>
                <RecId>5637165603</RecId>
                <BOM>
                  <BOMType>Item</BOMType>
                  <ItemId>G211249</ItemId>
                  <BOMQty>1.00</BOMQty>
                  <UnitId>PCS</UnitId>
                  <BOMId>BOM0012781</BOMId>
                  <RecId>5637309242</RecId>
                </BOM>
              </BOMTable>
              <BOMTable>
                <BOMId>BOM0012781</BOMId>
                <Name>Esko Suite 12.1 A5 Software box</Name>
                <RecId>5637165603</RecId>
                <BOM>
                  <BOMType>Item</BOMType>
                  <ItemId>G211249</ItemId>
                  <BOMQty>1.00</BOMQty>
                  <UnitId>PCS</UnitId>
                  <BOMId>BOM0012781</BOMId>
                  <RecId>5637309242</RecId>
                </BOM>
                <BOM>
                  <BOMType>Item</BOMType>
                  <ItemId>G25583961_24</ItemId>
                  <BOMQty>1.00</BOMQty>
                  <UnitId>PCS</UnitId>
                  <BOMId>BOM0012781</BOMId>
                  <RecId>5637309243</RecId>
                </BOM>
              </BOMTable>
            </BOM>
          </BOMTable>
        </BOM>
        <BOM class="entity">
          <BOMId>BOM0012605</BOMId>
          <BOMQty>1.0000</BOMQty>
          <BOMType>Item</BOMType>
          <ItemId>9608221Z</ItemId>
          <RecId>5637307758</RecId>
          <UnitId>PCS</UnitId>
          <InventDimBOM class="entity">
            <RecId>5637213290</RecId>
          </InventDimBOM>
        </BOM>
        <BOM class="entity">
          <BOMId>BOM0012605</BOMId>
          <BOMQty>1.0000</BOMQty>
          <BOMType>Item</BOMType>
          <ItemId>9700624Y</ItemId>
          <RecId>5637307759</RecId>
          <UnitId>PCS</UnitId>
          <InventDimBOM class="entity">
            <RecId>5637213291</RecId>
          </InventDimBOM>
          <BOMTable>
            <BOMId>BOM012172</BOMId>
            <Name></Name>
            <RecId>5637157831</RecId>
            <BOM>
              <BOMType>Item</BOMType>
              <ItemId>9644921</ItemId>
              <BOMQty>1.00</BOMQty>
              <UnitId>PCS</UnitId>
              <BOMId>BOM012172</BOMId>
              <RecId>5637333624</RecId>
            </BOM>
          </BOMTable>
        </BOM>
        <BOM class="entity">
          <BOMId>BOM0012605</BOMId>
          <BOMQty>1.0000</BOMQty>
          <BOMType>Item</BOMType>
          <ItemId>9700815</ItemId>
          <RecId>5637307760</RecId>
          <UnitId>PCS</UnitId>
          <InventDimBOM class="entity">
            <RecId>5637213290</RecId>
          </InventDimBOM>
        </BOM>
      </BOMTable>
      <InventDim class="entity">
        <RecId>5637199988</RecId>
      </InventDim>
    </BOMVersion>
  </BillsOfMaterials>
</MessageParts>

I want to create JSON array of all the BOMs (a flat structure with no hierarchy) with parentId as RecId of parent BOM as shown below -
Output -
[
    {
        "id": "5637307757",
        "productId": "9650092",
        "parentId": null
    },
    {
        "id": "5637307799",
        "productId": "9650079",
        "parentId": "5637307757"
    },
    {
        "id": "5637307800",
        "productId": "9644919T",
        "parentId": "5637307757"
    },
    {
        "id": "5637307801",
        "productId": "96AR060W",
        "parentId": "5637307757"
    },

    {
        "id": "5637307802",
        "productId": "9700720Z",
        "parentId": "5637307757"
    },
    {
        "id": "5637333626",
        "productId": "9700595",
        "parentId": "5637307802"
    },

    {
        "id": "5637333626",
        "productId": "9700595",
        "parentId": "5637307802"
    },
    {
        "id": "5637333627",
        "productId": "9608224Z",
        "parentId": "5637307802"
    },
    {
        "id": "5637307803",
        "productId": "9683336L",
        "parentId": "5637307757"
    },
    {
        "id": "5637309242",
        "productId": "G211249",
        "parentId": "5637307803"
    },
    {
        "id": "5637309242",
        "productId": "G211249",
        "parentId": "5637307803"
    },
    {
        "id": "5637309243",
        "productId": "G25583961_24",
        "parentId": "5637307803"
    }
]

Mapping Rules -

*

*id : BOM -> RecId

*productId : BOM -> ItemId

*parentId : the RecId of the parent BOM

The difference with the suggested answer is that I need to set parentid with the immediate recid of the BOM and not of the BOM table.

A: Seems like your output is still wrong given the input (for example, product id 96AR060W is not in the input xml). To answer your question is instead of collecting all BOM object, you can traverse individual BOM objects to save parent id and create a function that you can call recursively. Please see below dataweave:
%dw 2.0
output application/json

fun parseBOM(bomData, parentId) =
    if (bomData.BOMTable.BOM?)
        [{
            id: bomData.RecId,
            productId: bomData.ItemId,
            parentId: parentId
        }] ++ (bomData.BOMTable.*BOM flatMap parseBOM($, bomData.RecId))
    else {
        id: bomData.RecId,
        productId: bomData.ItemId,
        parentId: parentId
    }

---
using (firstBOMTable =  payload.MessageParts.BillsOfMaterials.BOMVersion.BOMTable)
firstBOMTable.*BOM flatMap parseBOM($, null)

Given your input xml, this will result to
[
  {
    "id": "5637307757",
    "productId": "9650092",
    "parentId": null
  },
  {
    "id": "5637307799",
    "productId": "9650079",
    "parentId": "5637307757"
  },
  {
    "id": "5637307800",
    "productId": "9644919T",
    "parentId": "5637307757"
  },
  {
    "id": "5637307801",
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What the function do is that if the provided object (bomData) contains BOMTable.BOM then create the needed object and call the same function again using all BOM objects under it. The function as well accepts the parentId as a parameter to preserve it.


It's your last chance to get tic-kets for the Baking Industry Awards 2008, to be held at London's Grosvenor House hotel on 15 September.
A prime opportunity to rub shoulders with the most influential people in the industry, this year's event will be hosted by TV personality Kate Thornton and includes a drinks reception, three-course meal and entertainment. Contact Elizabeth Ellis on 01293 846593, email elizabeth.ellis@william-reed.co.uk, or visit [http://www.bakeryawards.co.uk].


text:
Home | Now reading: Getting the shot: Alpine redemption
Getting the shot: Alpine redemption
James Startt explains how he captured his shot of Bob Jungels on stage nine of the 2022 Tour de France
Words: James Startt
Photos: James Startt
Today was my first of several days on one of the Tour de France motorbikes. While it is always exciting, photographing from a moto is very different from driving ahead of the race and picking your shot, really composing it and working it. On a moto the possibilities are seemingly endless. And yet it is constantly stressful.
On a moto you must often act quickly, and since there are at least a dozen other accredited bikes in the race, you are constantly jostling for position. Several Tour de France regulators signal when exactly you can drop back and photograph. And often by the time it is your turn, the light and overall situation has altered.
Today's stage from Aigle, Switzerland to Chatel just over the French border provided endless opportunities. The opening kilometre raced along Lake Leman and up climbs blanketed with lush vineyards. While I had several decent postcard shots, none really satisfied me.
As we drove ahead of the pack I looked for other potential landscapes. But I found nothing. By the mid-race point, I decided to simply concentrate on the racing.
I spent hours it seemed, fading back to the pack to get Tadej Pogačar, whose yellow jersey rarely left the top 10 spots in the pack. There were numerous shots that I liked with Pogačar dancing in and out of the shadows on this picturesque stage.
But really, my favourite shot came in the final kilometers where I got ahead of the race to photograph Bob Jungels, who appeared well on his way to his biggest victory in years after attacking the breakaway nearly 60 kilometers from the finish.
Getting up to Jungels I had to first go to the front of the line of the in-race moto photographers. My turn came just as we entered a village about five kilometers from the top of the final climb. At first I feared that once again my turn came at the wrong time, but as we turned a corner, I knew there was a tremendous opportunity.
The crowd was intense and the light was spot on. I told my driver to slow down and we accelerated just as Jungels rounded the corner. I shot 20 frames at least, trying to stay aware of the action and the light. Already the first ones felt right, but as Jungels swung to the left-hand side of the road the fans went wild. And the shadows they created only added a dramatic repetition to the frame as Jungels powered past.
Looking at the camera screen as we pulled away, I knew instantly I had my shot. The combination of the emotion from the fans, Jungels' intense physical effort and the light were just what I had hoped for.
"We can go to the finish now," I told Bruno my driver. "I'm not going to get any better than that!"
Getting the shot in bike racing is often like that. You don't know when it will happen, and often your best planned shots don't materialise. Sometimes you just have to let the shots come to you. And sometimes you need a little luck. But luck only comes to those who are ready for it.
Camera : Nikon D5
Lens : Nikon 70mm-200mm (set at 135mm)
Shutter speed : 1/1000th
Aperture : F 3.5
Thibaut Pinot and the life-affirming beauty of imperfection
What is the Tour de France time cut and how does it work?


Office equipment is the fastest growing energy user in the business world, consuming 15% of the total electricity used in offices. This is expected to rise to 30% by 2020. Annually the cost of running this equipment is around £300m in the UK alone and this is increasing every year.
Making small adjustments to the way office equipment is used can significantly improve the working environment and save money. It is essential to promote the benefits of energy saving to the entire workforce in order to get the best results.
A single computer and monitor left on 24 hours a day will cost around £45 a year. Multiply that by the number of computers your business has to understand what this might be costing you.
Switching them off out of hours and enabling standby features could reduce this to less than £10 a year each and prolong the lifespan of equipment.
Switch off equipment at the end of every day and only switch on when required the following day. Enable printer standby modes and print in batches where possible to allow the machine to spend more time in standby than idling. Newer printers start up faster, so employees are more likely to be happy about turning them off.
Install a plug-in seven-day timer to reduce the likelihood of machines being left on out of hours.
Switch off your TV at the end of the day this will do more to reduce energy use than anything else.
Manufacturers have improved standby efficiency – in most new TVs energy usage is typically below 1 watt – so this is an option if you have a new TV, but if you have an older model, this mode may be using energy unnecessarily.
Switching to standby is better than leaving your TV on, but it's still more energy-efficient to switch it off completely.
Allocate responsibility for switching off machines to one person to ensure this is carried out at the end of each day. Consider installing plug-in seven-day timers to automatically switch off photocopiers out of office hours and reduce costs.
A photocopier left on standby overnight wastes enough energy to make 30 cups of tea.
Switch off lights when room is not use.
Air conditioning an office for 1 extra hour a day uses enough energy in a month to power a TV for over a year.
Fax machines are frequently left on 24 hours a day to receive incoming messages but they may only be in use for 5% of the time.
Emails are cheaper and save more energy than sending a fax. If a fax is really necessary, then consider sending it electronically. There are many software options enabling faxes to be written and sent via a PC.
Projectors can use up to 300 Watts of power (producing about 0.3 kg CO2/hour). Dimming or switching off lights when you're using a data projector can save as much energy as the projector uses.
Unplug your gadget chargers when you're not using them. If a charger feels warm when it's plugged in but not attached to a device, it's still using energy.
It costs less than a penny to charge a phone for eight hours, but unplugging the charger when not in use could make a big environmental impact if everyone does it.
A 2°C increase in office temperature creates enough CO2 in a year to fill a hot air balloon.
If you would like us to send you our guides please fill out the form below.


Going Up! Power Supply Protection for Elevators.
We've all been in an elevator at some point in time. But have you ever thought about the power supply that keeps the elevators moving? At Energy Control Systems, we rely on the latest technology to help our clients control the power quality that operates their elevators.
The software and hardware used to operate today's elevators are definitely more reliable than that of the past, but it is also highly sensitive to fluctuations in power surges. It isn't just the strong surges from lightning or utility companies that cause software confusion and elevator downtime, and that is why a typical surge protective device will not suffice for the technology used to operate elevators. To keep your elevators up and running, cut costly repairs and unnecessary maintenance, you need SineTamer®.
SineTamer® is actively involved in the protection of elevator systems and components around the world. In every known instance of applying SineTamer® to existing issues related to power, all have been eliminated and the return on investment has been 10 months or less.
Success Stories from Around the Globe!
One of ECS's early experiences in Central America involved a major utility generated power surge destroying a number of elevators and related equipment in one building, while right next door, being fed from the same transformer, not a single elevator component was damaged. When asked why, the foreman of the unaffected building said, we installed SineTamer®. Seeing the benefits first hand, the other building installed SineTamer® and has not dealt with downtime since.
Another instance at the World Trade Center of a South American capital city, the elevator systems (30 in total) would routinely experience 5-7 issues daily. In addition to those were the constant deprogramming failure of the HMI's on each of the 22 floors. At a loss of where to turn, the elevator provider looked to us for the answer. Upon installation of SineTamer®, all failures, lockups, and loss of program ceased 100%.
In Southern Brazil, a hotel was plagued with constant recurring elevator failures even though they had installed surge suppression in the panels, which presented a whole new problem of overcoming the common objection of, "We installed surge suppressors and we still have the problems." Once we convinced them to install SineTamer®, which is more than a surge suppressor, in the elevator control cabinet and remove the existing SPD, maintenance intervention decreased 90% and the return on investment was 9 months.
Energy Control Systems provides the latest technology to our clients to ensure their systems are operating smoothly and efficiently, and this includes much-needed power protection for elevators! To learn more about SineTamer®, CLICK HERE.


text:
What We Know as We Know It: Reading "Litany" With JA (As We Know, 1979)
"The truth of an idea is not a stagnant property inherent in it. Truth happens to an idea. It becomes true, is made true by events.
To copy a reality is, indeed, one very important way of agreeing with it, but it is far from being essential. The essential thing is the process of being guided."
"Pragmatism's Conception of Truth"
It has long been my contention, or suspicion, or just unverified hunch, that John Ashbery (like Gertrude Stein) has had some relation to William James and American pragmatism. Ashbery's reluctance to make any statement or declaration that does not appear to arrive and disappear on the heels of his miraculous syntax seems to me evidence of the kind of conceptual relativity that James first enunciated in the early years of the twentieth century. Ashbery's joyous investment in a present reality as being inimical to what James called "copying" is further evidence: Ashberian poetics insists on the multidimensionality of time-space duration, as opposed to either pictorial mimesis or the cause-and-effect order of conventional, developmental narration: reality, for Ashbery, has neither linearity nor replica. Connections among thinking and feeling, knowing and doing are always in flux.
The light that was shadowed then
Was seen to be our lives,
Everything about us that love might wish to examine,
Then put away for a certain length of time, until
The whole is to be reviewed, and we turned toward each other.
The way we had come was all we could see
And it crept up on us, embarrassed
That there is so much to tell now, really now.
—"As We Know"
An idea I had talked about
Became the things I do.
—"Five Pedantic Pieces"
We must first trick the idea
Into being, then dismantle it,
Scattering the pieces on the wind,
So that the old joy, modest as cake, as wine and friendship
Will stay with us at the last, backed by the night
Whose ruse gave it our final meaning.
—"Flowering Death"
The difficulty with that is
I no longer have any metaphysical reasons
For doing the things I do.
Night formulates, the rest is up to the scribes and the eunuchs.
—"The Preludes"
As We Know, John Ashbery's eighth book, was published in 1979. It has a unique, horizontal shape, associated in the visual arts with landscape (as the vertical is with portraiture). Indeed, the book's jacket art, by the Renaissance Dutch painter Pietre Jansz Saenredam (1597–1665), features a scene, "St. Mary's Square and St. Mary's Church, Utrecht." In muted, evening tones of ochre and pale blue, a few persons gathered here and there, the painting depicts the large stone church at the right, a clocktower, and a second church spire rising behind it into the veiled, cloud-studded sky.
This ecclesiastical subject matter might have given prospective readers a clue to the book's contents. Indeed, as we now know, the reason for the eccentric landscape format was to accommodate "Litany," a long poem in three parts for two voices, meant, as the Author's Note tells us, "to be read as simultaneous but independent monologues." Of the book's 118 pages, sixty-eight belong to "Litany."
A litany, in liturgical ceremonies, is a form of prayer that usually involves invocations or supplications by the preacher, followed by fixed responses from the congregation. In common usage, the word has come to mean any list, enumeration, or prolonged account—"the whole litany of complaint."
The Greek root of the word is litaneia, an entreaty.
The little black cassette is lost; I have looked for it everywhere. The sound was beginning to deteriorate, the voices stretched into slow motion. I played it often at the end of a term for my students as a kind of gift, since unless you hear "Litany" you cannot really know, or have, it. After it was first recorded, I would play it at night, with the lights out, as a fantastic lullaby: my own voice merging and diverging from his, his from mine, two uttering instruments playing in tandem. The musical analogy is obvious. Indeed, in a recent e-mail to me Ashbery wrote, "Elliott Carter's Duo for Violin and Piano was an influence on 'Litany.' I heard it performed at Cooper Union (the premiere, I think). For that performance the violinist was at one end of the stage and the piano at the other, emphasizing the separateness of the two parts. I don't believe I was conscious of this as an influence at the time I wrote 'Litany.' Only afterwards did it dawn on me that the music doubtless affected the poem."
We went north one day on Amtrak to Saratoga Springs, New York. I was extremely tired, I remember, having had too much wine the night before and not enough sleep. Although John and I had already performed part of "Litany" at a bar on lower University Place in Manhattan, I had never read the whole poem: he gave me a copy of it to read on the train. I seem to recall it was in manuscript form, or perhaps galleys, so maybe the book had not yet been published. We were headed up to ZBS recording studios. ZBS stands for "Zero Bull Shit." Sited on a forty-five-acre farm in Fort Edward, New York, it was founded in 1970 in the midst of the counterculture, "to support alternative radio and audio production, creation, inspiration, good vibes, and self-development." Artists were to be invited for residences. If you Google it, you will find a lot of interesting information, but nowhere will you find reference to John Ashbery and Ann Lauterbach recording "Litany." Perhaps I dreamed it up.
We were situated across from each other at a small high table, with two microphones. It was later that same day, after some tea and a chat with the recording engineer. Ready, set, go.
He read:
For someone like me
The simplest things
Like having toast or
Going to church are
Kept in one place.
I read:
So this must be a hole
Of cloud
Mandate or trap
But haze that casts
The milk of enchantment
The first stanza, five lines each. Voice One, "someone like me," is in a direct, "simple" relation to things as they are; his world is "kept in one place." Voice Two is in a more ambiguous setting; she is in a "milk of enchantment" that involves holes, hazes, traps, mandates, clouds, which is cast, in the following stanza "over the whole town."
In the second stanza, the tonal clarity of the first voice proceeds, as does the miasma of the second. But two new formal elements appear. Two words, town and knowledge, migrate across the two voices; also, the first of a number of isolations or singularities occurs.
Like having wine and cheese.
The parents of the town
Pissing elegantly escape knowledge
Once and for all. The
Snapdragons consumed in a wind
Of fire and rage far over
The streets as they end.
Voice Two:
Over the whole town,
Its scenery, whatever
Could be happening
Behind tall hedges
Of dark, lissome knowledge.
[italics mine]
Voice One has seven lines; Voice Two has only five. Voice One has "town" at the end of his second line; Voice Two has "town" at the end of her first. It's a kind of syncopated sound enjambment, in which the perfect rhyme slides, causing what might feel like an echo effect, so that, for example, the parents of the town might be heard to be over the whole town. The other repeated word, also an end word for both voices, is "knowledge." A listener might also hear this chime, as if two instruments were playing the same note. For Voice One, the parents in the town "escape knowledge" just as it shifts over to Voice Two, "behind tall hedges / Of dark, lissome knowledge."
The syntactical interplay is so subtle and indeterminate that any number of possible sentences might emerge. For example, one might hear "The milk of enchantment like having wine and cheese," or "Could be happening / Once and for all" or "Snapdragons consumed in a wind / Of dark lissome knowledge." The strange phrase "pissing elegantly" is likely to come unmoored from its subject, "the parents," to idle until, perhaps, finding its way "behind tall hedges."
Meanwhile, a single line springs loose from the duet. Just as Voice Two ends her stanza with "of dark, lissome knowledge," Voice One says, "Of fire and rage far over." This is the poem's first unaccompanied line; it falls into a tiny pause before Voice Two takes up her third stanza. A listener will hear its grim, stark description: of fire and rage far over. Suddenly a new content arises: "of dark, lissome knowledge / of fire and rage far over / the streets as they end."
I made a terrible botch of it. I stumbled over the syntax and mispronounced words; most egregious, I found myself out of sync, in totally wrong places—way ahead or way behind, so the poem was undergoing radical distortions. I couldn't read my part and his—to the left across the page—simultaneously, and so I went merrily, well, unmerrily, along until suddenly I was nowhere near where I was supposed to be according to the poem's lineation.
Meanwhile, Ashbery's implacable mild tonalities went on at their steady, stately rate, gliding over the poem's surface with unruffled ease, as I slipped and fell, and began again, each time having to stop the proceedings, each time feeling increasingly humiliated and anxious; breathless, one might say: inundated.
Finally, we decided to quit. I think I said something to the effect that it was too difficult to read my part with the author sitting not two feet away, which was true. But I feared that, even with sleep, I would not be able to keep in step. A compromise was found: John should continue to read and record "his" part of the poem, and I, on the following morning, would read mine, while listening through earphones to the recording of his reading. This change proved to be astonishingly successful; somehow, hearing the First Voice made it possible for me to play, or be, the Second.
In Part 1 of "Litany," each voice has almost the same number of isolated, solo lines; the First Voice has one more than the Second, but the Second has two together, a couplet (discontinuous—maybe—in terms of sense) at the end of the section. Otherwise, each has only single lines that break out from the ongoing duet. Of course, it is almost impossible to imagine that any two persons could read the poem with such exactitude that each of these lines would be "revealed," since the line lengths, and thus the pacing, throughout are extremely varied. Still, it might be interesting to have a look at these isolated lines as they appear on the printed page.
First Voice:
1. Of fire and rage far over
2. He spat on the flowers.
3. To the rest. That is why
4. The last rains fed
5. Have a music of their own,
6. The shirt.
7. To serenade it
8. To remember what had indeed once
9. The dark shirt dragged frequently
10. Etc.,
11. You and Sven-Bertil must
12. At some earlier time
13. At the top
14. In darkness, and each
15. Still, somewhere wings are
16. Is still room for certain boys to stand,
17. In the here and now. You were saying
18. Mother and the kids standing around
19. Are outnumbered by plain queries
20. Storehouse of agendas, bales
21. Is forgotten like thorns in the memory
22. Extinct, ultimate slopes,
23. That brought us to this unearthly spot.
24. That reads as life to the toilers
25. Because it is the way of the personality of each
26. Gun-metal laurels, the eye
27. Capital at the beginning, and its polished
28. Came to its dramatic conclusion, but
Second Voice:
1. In explicit sex
2. Remembers except that elf.
3. Around us are signposts
4. Surrounding, encroaching on
5. The warp of knowledge
6. Of nerves, articulate
7. Pass by like a caravan
8. Through the cistern of shade
9. To be dreamed of
10. Moving over the nebulous
11. Intruding into the color,
12. Of ice cream and sting
13. Nor on a journey, appearing
14. There is no more history you
15. Now the dry, half-seen pods
16. Behemoths of sense shredding
17. With rheumy specs, dung beetle bringing up the rear:
18. They are anxious to be done with us,
19. Stood; nothing's there
20. To reveal, being forward like this, but we can say
21. Shove us away, but rather
22. Only an aftertaste of medicine
23. Begin it; duration
24. The speeding hollow bullet of these times
25. These relatives like scarlet trees who infested
26. Of reading and listening to the wireless.
27. We never should have parted, you and me.
I want to say that the two voices, although extremely close in tonal mood and content, in fact vary slightly in register, like the difference between two instruments, an oboe and a flute, or a piano and a violin. The Second Voice seems slightly more recessed, more introverted, and the first more overt and declarative. I even want to suggest that the First Voice is more "interested" in the visual, the concrete, the spatial, and the Second more attentive to the immaterial, the abstract, the temporal, but these dualities are undoubtedly spurious. Perhaps it is only a simple matter of major and minor, of a slight increase in certitude on the part of Voice One, and a slight increase in doubt on the part of Voice Two.
Do such distinctions, even if they were true, matter? Probably not. They are the curse of a desire to make meaning align with sense through operations of the analytic, what William James called the "rational," whereas the poem, like so much of Ashbery's work, insists that meaning and sense making, how we come to know what we know, are more complicated, intractable, and irretrievable, than we care to admit. James says, "Pragmatism gets her general notion of truth as something bound up with the way in which one moment in our experience may lead us towards other moments which it will be worthwhile to have been led to." "Litany"'s solo lines are exposed leads, where the audience "glimpses" some passing event or object, which may or may not connect to another event, another object.
And so to the Second Voice's last two lines of the poem's first section: "of reading and listening to the wireless. We never should have parted, you and me." One might consider that the "you and me" refers not only to two persons, but also to two activities: reading and listening. As usual with Ashbery, the poem speaks to, and for, itself.
I have come to believe, or think, or understand, that when someone dies, the most acute sense of loss is that of his or her voice. (For a while, one can "hear" a person's voice in one's inner ear, but slowly that fades.) This is odd, since sound is of course immaterial; one would think that the body would be the most felt absence. But sound is a distinctive marker of living presence more than any material object can possibly be; sound and lived time are indissoluble: they are, so to speak, part of the continuity of a landscape rather than the singularity of a portrait. Sound is embedded in spatial context.
The two Voices of "Litany" enact an interactive arc of proximity and solitude: near and far shuttle across the articulations of the middle distance. The poem evokes the intimacy of erotic connection; it hovers on the miraculous, as if at any moment a revelation might be, at last, at hand. But as with almost all experiences, these revelatory moments might or might not be shared among the assembled, as we (come to) know—feel, believe—what we know. One person will perceive an illuminating moment, another will discern a different one: the subjectivity of the listening self is allowed to move, and choose, among the great mass and flow of particulars. "Litany" asks of its performers, as of its audience, an acceptance of difference as a necessity of contiguity. The poem flares and contracts from personal intimacy to demotic community, and, as always in Ashbery, it swerves happily around the plainness and comedy of the mundane, "day by day." "Litany" offers a dissonant harmonic in which two voices must simultaneously speak and listen, to themselves and to each other. Both call, both respond.
There have been now several occasions in which I have performed the Second Voice. Around the time of the session at ZBS, there was a reading at a bar—now gone—on University Place, just across from Washington Square. Then Michael Lally and I performed the poem together for Ada Katz's Poet's Theatre, standing opposite each other on a stage. Then there was a long lapse, twenty years or more. When Ashbery's eightieth birthday celebration began to gain momentum, I suggested to John and David (Kermani) that perhaps this might be a good time for a new recital of "Litany," since so many among younger poets are interested in sound/performance, intertextuality, glossolalia. For the New School's Ashbery celebration, John and I read Part 1, and James Tate and Dara Wier read Part 3 at the Bowery Poetry Club; John and I read Part 3 for the New Yorker festival in Fall 2006.
"Litany" ends with Voice One having an extended solo aria of fifteen lines.
Why keep on seeding the chairs
When the future is night and no one knows what
He wants? It would probably be best though
To hang on to these words if only
For the rhyme. Little enough,
But later on, at the summit, it won't
Matter so much that they fled like arrows
From the taut string of a restrained
Consciousness, only that they mattered.
For the present, our not-knowing
Delights them. Probably they won't be devoured
By the lions, like the others, but be released
After a certain time. Meanwhile, keep
Careful count of the rows of windows overlooking
The deep blue sky behind the factory: we'll need them.
In these final fifteen lines, there are five temporal signs: the future is night, but later on, for the present, after a certain time, meanwhile. These unsteady, disorienting pointers or skips, so typical of Ashbery, rupture narrative as a condition of chronological cause and effect, as we learn to listen to a vibratory consciousness that forfeits one form of knowing for another. It is, I think, Ashbery's great gift, to have taught us to listen for the multiplicity, the plurality, of experience: as we know. As William James put it, "for every part, tho it may not be in actual or immediate connexion, is nevertheless in some possible or mediated connexion, with every other part, however remote, through the fact that each part hangs together with its very next neighbors in inextricable interfusion." Reading "Litany" with John Ashbery is just that: an inextricable interfusion. Like singing along with life.
Ann Lauterbach has published ten collections of poetry, most recently Spell (Penguin), as well as several chapbooks and collaborations with visual artists, including work with Ann Hamilton, Lucio Pozzi, and Ellen Phelan. She has written on art and poetics in relation to cultural value, notably in a book of essays, The Night Sky: Writings on the poetics of experience (Penguin). She has written catalogue essays on Cheyney Thompson and Taylor Davis, among others, and has been a visiting critic (sculpture) at Yale. Her 2009 volume, Or to Begin Again, was nominated for a National Book Award. Her poems have been translated into French and German. She has received fellowships from the Guggenheim Foundation, The New York State Foundation for the Arts, Ingram Merrill, and The John D. and Catherine C. MacArthur Foundation. Since 1990, she has served as Co-chair of Writing in the Milton Avery Graduate School of the Arts and, since 1997, David and Ruth Schwab Professor of Languages and Literature at Bard College. She has been a contributing editor to Conjunctions since 1981. A native New Yorker, she lives in Germantown, New York.


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text:
Q: Node.js - core cluster module I am using the core cluster module in node v0.6.5. I have the following code:
var cluster = require('cluster');
var http = require('http');
var numWorkers = 3;

var count = 0;

if (cluster.isMaster) {
  for (var i = 0; i < numWorkers; i++) {
    cluster.fork();
  }
} else {
  console.log('createServer called');
  http.createServer(function (req, res) {
    count++;
    res.writeHead(200, {'Content-Type': 'text/plain'});
    res.end('Count is: ' + count.toString());
  }).listen(1337, "127.0.0.1");
}

Everytime I hit the page, the count is incremented twice, e.g. 1,3,5,7... Why does it increment twice?

A: This is probably another case where the browser is silently requesting /favicon.ico, thus making there 2 requests per page.