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Rowan's Office of Student Support & Disability Service provides all individuals access to affordable and quality education. The Office of Student Support ensures that students with disabilities have every opportunity to succeed in their academics as active members of the college community. Rowan College at Burlington County affirms its compliance with Section 504 of the Rehabilitation Act of 1973 and the Americans with Disabilities Act (ADA). For questions and general information, please contact the Office of Student Support at disabilityservices@bcc.edu.
In addition, the mission of the Adult Center for Transition (ACT) is to afford young adults with disabilities, the academic, vocational and socialization skills necessary to become independent and contributing members of society.


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'We don't need 2,000 hotel-casino rooms'
By Cherrie Anne E. Villahermosa - cherrie@mvariety.com - Variety News Staff
THE Commonwealth Casino Commission has asked the House Committee on Gaming to reconsider Imperial Pacific International's proposed $2 billion development projects.
Commission Executive Director Edward Deleon Guerrero, during a meeting with the House committee on Wednesday, said IPI's exclusive license calls for 2,000 new hotel rooms which will require a minimum of 2 million visitors a year.
Edward Deleon Guerrero
CNMI visitor arrivals peaked at 727,000 in 1997. In 2017, there were 659,741 arrivals.
"I don't think the CNMI could accommodate 2 million visitors a year," Deleon Guerrero said. "And I don't think we have the capability to construct 2,000 rooms."
He said for the past two years, the Saipan casino's VIP room has been generating a significant amount of revenue.
"It appears that revenue-wise, the VIP room is the direction in which to go — we don't need the 2,000 rooms or 2 million visitors. We just need to focus on visitors and tourists of that type," Deleon Guerrero said, referring to "VIPs."
He said lawmakers should now discuss whether the CNMI is still willing to see 2,000 new rooms and a $2 billion investment.
House Committee on Gaming Chairman Joseph Deleon Guerrero agreed.
"We need to discuss that. The CNMI government really needs to reconsider that. The 2,000 rooms will require 2 million tourists. I think that is something that we should really consider. I feel that we don't really need that many tourists because I am not sure our airport can accommodate such numbers. I am not sure that we have the capacity and infrastructure to accommodate that number without sacrificing the needs of our own residents," Rep. Joseph Deleon Guerrero said.
"Another thing that we should also consider is [IPI's] integrated resort, which means the casino and the hotel are integrated. Maybe we should consider separating them and just have a hotel component and a casino component. It's easier to find an operator to run a casino and an operator to run a hotel than finding an operator who can run both. These are difficult issues that need to be considered…. We will have to amend the casino law in order to address that issue."
Commonwealth Casino Commission Chairman Juan Sablan said the Lottery Commission's recent granting of an extension for the deadline to complete IPI's hotel-casino project in Garapan was a wise decision for the Commonwealth.
He noted that the extension includes a penalty of $5,000 a day if IPI fails to meet the new deadline of Feb. 28, 2021.
"IPI should know that we mean business here, and we cannot continue to amend the agreement over and over again," Sablan said.

redpajama_set_name: RedPajamaCommonCrawl


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Where was Dances With Wolves filmed and who is in the cast?
Olivia WaringSunday 22 Apr 2018 2:19 pm
Dances With Wolves is an multi-Oscar-winning western epic (Picture: Orion Pictures)
Fans of Kevin Costner, soaring violins and American history will go nutty for the 1990 movie Dances With Wolves.
The Wild West-set epic won an incredible seven Oscars after moving audiences with its story of a US soldier being welcomed into a tribe of Lakota Indians called the Sioux.
It is only one of three movies to be directed, produced and starred in by 63-year-old Kevin Costner.
And it came out the year before his big starring role in Robin Hood: Prince Of Thieves.
The film is set in 1863, a turbulent time in American history (Picture: Orion Pictures)
So where was this movie filmed, who's in the cast and what else do we know about it?
Dances With Wolves was based on a 1988 book by Michael Blake about a Union Army lieutenant who is brought into contact with a tribe.
It was filmed in South Dakota, mainly on private ranches near Pierre and Rapid City. A few scenes were filmed in Wyoming.
Specific locations included the Badlands National Park, the Black Hills, the Sage Creek Wilderness Area, and the Belle Fourche River area.
The star of the film is Kevin Costner, who plays Lt. John J. Dunbar (Picture: Orion Pictures)
The bison hunt scenes were filmed at the Triple U Buffalo Ranch outside Fort Pierre, South Dakota, as were the Fort Sedgewick scenes after the movie set wasconstructed on the ranch.
The budget for the movie was $22 million (£16m), a large amount for the time, but it grossed an amazing $184 million (£131m) at the box office.
Currently, it has an 82 per cent rating on Rotten Tomatoes, and the film led Costner to be adopted as an honourary member by the Sioux Nation.
It was nominated for 12 Oscars and won seven including best adapted screenplay, director, score (which was by John Barry) and picture.
Mary McDonnell plays Stands With A Fist, a Sioux tribe member (Picture: Orion Pictures)
A lot of the movie's dialogue is spoken in Lakota, and has English subtitles.
The cast is headed up by Costner as Lt. John J. Dunbar, Mary McDonnell as Stands With A Fist (a white widow adopted by the tribe leader), and Graham Greene as that very tribe leader, Kicking Bird.
Also in the cast are Charles Rocket, Rodney A. Grant, Tantoo Cardinal, Michael Spears, Floyd Westerman and Jimmy Herman.
The film won an amazing seven Oscars (Picture: Orion Pictures)
The film's running time is 181 minutes (2h 41m), though a four-hour version exists which was shown in cinemas the year after the original release.
Costner went on to direct and produce The Postman and Open Range in 1997 and 2003 respectively, though neither matched the success of Dances With Wolves.
The filmmaker probably remains most famous for Robin Hood but last year he was in Molly's Game and this year he stars in The Highwaymen.
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The Synergy Session Catalog is Now Available – Plan Your Schedule Today!
Although Citrix Synergy in San Francisco is still several months away, you could say we're already "in session" with the launch of the full Session Catalog. Complete details on each breakout (speakers, session descriptions, key takeaways, products covered, etc.) are now available.
This year, the session lineup grew by leaps and bounds. To target the major technology trends of the cloud era, we increased the number of technical and business breakouts by a full 25% over 2011. You can now choose from over 100 different presentations covering the topics everyone is talking about – enterprise and hosted clouds, Bring Your Own initiatives, the mobile workforce, virtual desktops, network security and more. The vast majority of sessions are intermediate or advanced technical discussions, providing plenty of in-depth information, practical guidance and specific details.
The content will be divided into four tracks: Mobile Workstyles, Desktop Virtualization, Enterprise Cloud Networks and Cloud Convergence. Plus we are bringing the popular Geek Speak Live! track, which offers a more spontaneous, informal alternative to traditional presentations.
In addition, we are offering three special series that span across the tracks. The Executive Series has a business focus and is aimed at senior IT leaders. The Desktop Transformation series expands the highly successful 2011 program with twice as many sessions, focusing primarily on best practice methodology. We also are in the process of adding a brand-new Cloud-Ready Networking series to provide networking professionals with intensive training on Citrix networking products that accelerate the move to cloud-based computing. Look for this series in the Session Catalog next week.
Some well-known names in IT will be presenting these sessions, including senior IT people from Duke Energy, Cerner, AOL, University of Miami, Fujitsu and Indiana University. In addition, Simon Crosby (formerly of Xen and Citrix and now with Bromium) will speak on "Desktop virtualization's next feature set: unbreakable security." In fact, about 40% of all sessions will be led by guest speakers.
A really exciting addition to the conference is Startup.Synergy, a special program providing insights into the fluid and fascinating landscape of innovative tools and technologies emerging in the cloud era. The program, launching in March, will include Citrix Startup Accelerator portfolio pitches and demos from innovator companies and expert panel discussions.
Check out the full session offering and be sure to make your plans to attend Synergy in San Francisco. And be sure to follow me on Twitter @merisummers for Synergy content updates.


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Warehouse Menu
The Sensation of Space
DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES
Thinking Out Loud: Notes for an Evolving Collection
Identity Revisited
GEOMETRIES ON AND OFF THE GRID: ART FROM 1950 TO THE PRESENT
ROOM BY ROOM: MONOGRAPHIC PRESENTATIONS FROM THE FAULCONER AND RACHOFSKY COLLECTIONS
PARALLEL VIEWS: ITALIAN AND JAPANESE ART FROM THE 1950S, 60S, AND 70S
The First Exhibition
One day, in my bedroom, I was looking at a napkin left on a chair and I suddenly realized that not only was each object alone, but that it had a weight — or actually a weightlessness — that kept it from weighing on any other. The napkin was alone, so alone that I felt I could take away the chair without changing the napkin's position. It had its own place, its own weight, even its own silence. The world was light, light… — Alberto Giacometti
In his essay on artist and friend Alberto Giacometti, French writer Jean Genet describes a conversation in which Giacometti discusses his understanding of objects as existing in a kind of spatial solitude, apart from their surroundings, with the ability to generate a new awareness of space around them. In this brief exchange, the artist offers his impression of the complex and poetic relationship we share with the material, physical world. It is through the act of making a sculpture that Giacometti — and the artist in general — imbues each object with its own place or weight, or as Genet describes, "the sensation of space" that surrounds it.
Taking Genet's description as its title, this exhibition looks at the ever-expanding ways artists create sculptures that generate, activate, and occupy space in all its physical and psychological manifestations. At its foundation is a dialogue between the Raymond and Patsy Nasher Collection, one of the world's finest collections of European and American modern and contemporary sculpture, and The Rachofsky Collection, a post-WWII collection of art from around the world with focuses in identity, process, and conceptual work. The Sensation of Space explores the material, formal, and thematic connections in works dating from the mid-19th century to the present and illustrates how artists continually seek out new ways to redefine traditional notions of sculpture.
The Sensation of Space is co-organized by The Warehouse in partnership with the Nasher Sculpture Center. The exhibition features works from The Rachofsky Collection, the Raymond and Patsy Nasher Collection, the Nasher Sculpture Center, the Dallas Museum of Art, the Collection of Marguerite Steed Hoffman, the Collection of Deedie Potter Rose, and the Collection of Christen and Derek Wilson.
Dr. Leigh A. Arnold & Thomas Feulmer
Exhibition Curators
For his 2017 project at The Warehouse, artist Shuji Mukai was invited to create one of his architectural interventions in the men's and women's restrooms. Over the course of nine days, and with two assistants, Mukai covered every surface in these spaces with his nonsensical symbols. Acrylic paint, marker, and tape generate a variety of textures and layers, distorting and complicating our perception of the rooms.
Gathering more than 100 works created between 1952 and 2016 by 61 artists, Topologies offers both snapshots of particular moments in time and historical lineages that unfold over years. It draws from The Rachofsky Collection's strong formal and conceptual holdings on international practices that emphasize process and materiality. The show expands on themes including permutation and distortion in space, inversions and other shifts in the body's phenomenological relationship to space, material transition based on gravity and entropy, the politics of displacement, and reconceiving abject encounters between the synthetic and organic.
Topologies draws works from The Rachofsky Collection, the Dallas Museum of Art, Deedie Rose, and Jennifer and John Eagle.
July 10, 2017 – April 14, 2018
In the short story William Wilson, Edgar Allan Poe presents a sinister plot: the tale of a character who, from his childhood, experiences the apparition of a figure who in everything resembles and haunts him with similitude and repetition – until he turns out to be himself. It is the doppelgänger, or double, a recurring figure in literature (from Dostoyevsky to Borges and Wilde) and in all the arts. The very act of representing – oneself or the other – can be understood as a gesture of creation of parallel realities, thus doubles to those in which we live. The exhibition DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES takes this literary figure as a starting point to create an inventory of situations in which otherness and duplication/repetition are manifested in works from The Rachofsky Collection, The Rose Collection, The Collection of Marguerite Steed Hoffman, and the Dallas Museum of Art, among others, assuming diverse configurations: from forms of representation that occur through replicas, shadowing, and mirroring to logical-formal exercises that are expressed by the use of halves and doubles. The narrative departs from works in which the theme of the double appears explicitly – the most striking example being Felix Gonzalez-Torres' "Untitled" (Perfect Lovers), an iconic piece from the collection with its identical but different clocks – to arrive at the idiom of abstraction, where virtual space and its relationship between exterior and interior constitute a bridge to the rapports between the self and the other.
DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES includes work by John Ahearn, Eija-Liisa Ahtila, Kai Althoff, Laurie Anderson, Giovanni Anselmo, Janine Antoni, Jo Baer, Robert Barry, Georg Baselitz, Alighiero Boetti, Marcel Broodthaers, Vija Celmins, Chung Chang-Sup, Alice Channer, Lygia Clark, Bruce Conner, Alexandre da Cunha, Jessica Dickinson, Rineke Dijkstra, Marlene Dumas, Luciano Fabro, Saul Fletcher, Lucio Fontana, Gilbert & George, Robert Gober, Fernanda Gomes, Felix Gonzalez-Torres, Mona Hatoum, Lee Kangso, Ellsworth Kelly, Mary Kelly, Lee Kun-Yong, Luisa Lambri, Glenn Ligon , Seung-Taek Lee, Jorge Macchi, Mangelos, Babette Mangolte, Piero Manzoni, Robert Mapplethorpe, Kris Martin, Allan McCollum, Gabriel Orozco, Damián Ortega, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, R.H. Quaytman, Charles Ray, Ad Reinhardt, Mauro Restiffe, Medardo Rosso, Salvatore Scarpitta, John Schabel, Richard Serra, Jiro Takamatsu, Richard Tuttle, Luc Tuymans, Lee Ufan, William Wegman, Rachel Whiteread, Steve Wolfe, and Lynette Yiadom-Boakye, as well as objects from Dallas Museum of Art's Ancient Art of the Americas and Arts of Africa collections.
Rodrigo Moura
DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES is the first in a series of guest-curated exhibitions at The Warehouse.
January 30 – April 30, 2017
As we enter the fifth year of The Warehouse, we want to share with visitors our own personal journey in collecting. Unlike past exhibitions, which were very specific and curatorially rigorous, this presentation reflects the pluralistic nature of contemporary art at this moment, when no dominant art movement controls the conversation.
Allan Schwartzman has curated not one but several ideas that interest us, embracing recent acquisitions as well as older works not previously presented at The Warehouse. This is by no means an attempt to define the state of contemporary art, but rather an effort to evaluate our own collecting instincts as we navigate the contemporary art world.
We welcome feedback and look forward to many conversations as we proceed along our journey.
Please enjoy,
Cindy and Howard
Identity Revisited examines personal and cultural notions of identity in contemporary art. International in scope and spanning many generations, the exhibition features work in a variety of media that address issues of history, gender, race, childhood, mortality, and memory. Recent acquisitions in the exhibition include a Rosemarie Trockel wool painting from 1987, a recent Mark Bradford video installation, and sculptures by Pierre Huyghe and Janine Antoni. Identity Revisited draws works from The Rachofsky Collection, the Collection of Amy and Vernon Faucloner, the Dallas Museum of Art, George Michael, the Collection of Robert and Marguerite Hoffman, The Rose Collection, and Sharon and Michael Young.
Artists in the exhibition are Doug Aitken, Kai Althoff, Janine Antoni, Ida Applebroog, Georg Baselitz, Joseph Beuys, Alighiero Boetti, Michaël Borremans, Louise Bourgeois, Mark Bradford, Troy Brauntuch, Cris Brodahl, Brian Calvin, Maurizio Cattelan, Judy Chicago, Nigel Cooke, Rineke Dijkstra, Marlene Dumas, Tim Gardner, Isa Genzken, Robert Gober, Felix Gonzalez-Torres, Mona Hatoum, Eva Hesse, Jim Hodges, Jenny Holzer, Jonathan Horowitz, Pierre Huyghe, Christian Jankowski, Birgit Jürgenssen, Sanya Kantarovsky, On Kawara, William Kentridge, Tetsumi Kudo, Michael Landy, Charles LeDray, Glenn Ligon, Victor Man, Robert Mapplethorpe, Marisa Merz, Hiroshi Nakamura, Bruce Nauman, Dennis Oppenheim, Giulio Paolini, Alessandro Pessoli, Sigmar Polke, Marc Quinn, Charles Ray, Lucas Samaras, Thomas Schütte, Kiki Smith, Do Ho Suh, Rirkrit Tiravanija, Rosemarie Trockel, Luc Tuymans, Kara Walker, and Andro Wekua.
La déraison, 2014
concrete, marble, heating system, water, and plants
The Rachofsky Collection
Geometries On and Off the Grid: Art from 1950 to the Present examines geometry in the art of the postwar period and its evolution from an increasingly reductivist language in the 1950s and 60s to one that was re-envisioned in the 1960s and 70s as a means of reincorporating the figure and representations of identity into vanguard art. This history, which has been principally told from an American perspective, is explored here with the work of 112 artists from 18 countries in North America, Europe, Latin America, and Asia, spanning 7 decades of art making. By proposing at times unorthodox lineages and combining works from cultures that are not commonly displayed side by side, the exhibition aims to provide fresh insights into the history of postwar art.Geometries On and Off the Grid draws works from The Rachofsky Collection, The Rose Collection, The Collection of Marguerite Steed Hoffman, the Dallas Museum of Art, and the collections of Amy and Vernon Faulconer and Sharon and Michael Young.
Allan Schwartzman
This exhibition is a program of The Warehouse, a project initiated by Vernon Faulconer and Howard Rachofsky to open new dialogues about postwar Modern and contemporary art.
On view February 2 – November 30, 2015.
Room by Room presents a selection of artists of importance to the Rachofsky and Faulconer collections. Spanning many generations, media, and artistic viewpoints, together these artists provide a glimpse into the broad range of the collections inclusive of many of the significant artistic developments in the postwar period. Each room is devoted to the work of a single artist. In some instances (such as with Carroll Dunham, Janine Antoni, and Mona Hatoum) all of the works by the artists in the collections are presented. In others, we focus on a single work. This exhibition will evolve over time as we change certain rooms, introducing the works of additional artists in the collections. Room by Room is an opportunity for us at The Warehouse to examine our commitments to certain artists, to explore what their works reveal about the art of our time (whether singly or in combination), and to set goals and priorities for future collecting. On view February 26 – December 5, 2014.
Curator of the Exhibition
Director of The Rachofsky Collection
Advisor to The Amy and Vernon Faulconer Collection
Parallel Views: Italian and Japanese Art from the 1950s, 60s, and 70s aims to show connections between the work of a diverse range of artists from two geographic locations – Italy and Japan – during the early post-war period. Artists from groups such as Arte Povera, Gutai, and Mono-ha are included in the exhibition. Works on view are part of The Rachofsky Collection, The Amy and Vernon Faulconer Collection, and the Dallas Museum of Art, along with a number of other collections. Many of these artists have not been shown prominently throughout the United States, and along with the Dallas Museum of Art, The Warehouse is making a concerted effort to present this exciting and important material to an American audience. Parallel Views is curated by Allan Schwartzman. On view February 17, 2013 – January 31, 2014.
Artists in the Exhibition
Norio Imai Giovanni Anselmo
Susumu Koshimizu Alighiero Boetti
Yayoi Kusama Alberto Burri
Takesada Matsutani Enrico Castellani
Sadamasa Motonaga Luciano Fabro
Shuji Mukai Lucio Fontana
Saburo Murakami Jannis Kounellis
Hitoshi Nomura Luigi Ghirri
Nobuo Sekine Piero Manzoni
Shozo Shimamoto Mario Merz
Fujiko Shiraga Marisa Merz
Kazuo Shiraga Giulio Paolini
Kishio Suga Giuseppe Penone
Jiro Takamatsu Michelangelo Pistoletto
Atsuko Tanaka Shomei Tomatsu
Chiyu Uemae Marcel Broodthaers
Lee Ufan Christo
Tsuruko Yamazaki Bruce Conner
Katsuro Yoshida Robert Rauschenberg
The first installation at The Warehouse features work from both The Rachofsky Collection and The Amy and Vernon Faulconer Collection, including works by Sigmar Polke, Gerhard Richter, Marlene Dumas, Lucio Fontana, Piero Manzoni, Alberto Burri, Jim Hodges, Kara Walker, Carroll Dunham, Vija Celmins, Robert Irwin, Ricci Albenda, Mario Merz, and Gabriel Orozco, among others.
On view October 21, 2012 – January 17, 2013


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42 Local Comedians To Hire For Events In Ripon
42 Local Comedians To Hire For Events In Ripon.
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4. Lots of room for career growth. Sixty-four per cent of spa managers started out as spa receptionists, while 58 per cent have worked as therapists or technicians. When questioned, 66 per cent of respondents said their career develop- ment in the industry has been fast. These numbers refl ect two related facts: the spa sector presents incredible opportunities for people to work their way up and it's also growing at a fast pace. 5. When they fi nd the industry, they stay Eighty-three per cent of managers say working in spas is only their fi rst or second career choice. What's more, 76 per cent of the respondents have been in the spa industry for more than 11 years and 30 per cent over 16 years. Also, 80 per cent of spa managers say they would recommend a career in the sector to their best friend.


The success of artists who worked under the tutelage of Devante Swing during the mid 90's has been well documented. Missy Elliott, Ginuwine, Timbaland, Tweet along with the R&B group Playa all got their start from Devante and each eventually ended up having commercial success years later when they had an opportunity to come out with their music. However, as some may already know, they were not the only musicians that came out of Devante's "Bassment" crew. There have been a handful of others who never got the chance to showcase their talents to the world. YouKnowIGotSoul had a chance to talk with LaShawn from the R&B group Sista (which Missy Elliott was also a part of) about her experience in Da Bassment, life after Jodeci and her upcoming music.
YouKnowIGotSoul: As part of Sista, how were you originally discovered by Devante?
LaShawn Shellman: Well basically Timbaland discovered me at the Hampton Coliseum in Virgina. I was a solo act and Sista had like lost a member or something and I was singing before Mary J. Blige, TLC and Bobby Brown at a concert. The show was delayed so they called some girls up on stage and I think I had just arrived, I thought I had just missed the opening part of the show, but I guess I was right on time. All my friends had pushed me up on stage, so I sang a song and had a standing ovation. Timbaland happened to be in the crowd and after the show, we kind of crossed paths at the McDonalds outside of Hampton Coliseum. He asked me if I was the girl singing and I was like "Yes" and he was like "Well I work with Sista which is Jodeci's girl group. Would you be interested in joining the group?" That's how I came about with Sista.
YouKnowIGotSoul: Take me back to Sista's debut album, what do you remember about recording that album?
LaShawn Shellman: The process was very interesting. You know how when you first get a record deal, you do it for the love of it and then it becomes a job like the pressure and meeting the deadlines. We had a lot of fun. We recorded the album in our apartment in Newark, New Jersey and then we went to Maryland and laid it down in the studio when Devante had rented out a little spot down there. We worked with Ginuwine, Playa and Sista so we knocked it out pretty quick. We were just trying to get the work done. It was exciting and new. We were ready and young. It was a really good experience.
YouKnowIGotSoul: You guys had the single "Brand New" but unfortunately the album didn't get a chance to come out. Why do you feel the album never got a chance to come out?
LaShawn Shellman: Basically it wasn't because of any ends on our part. It was because Jodeci was having that little spat amongst themselves. As we were doing our promotional tour, they were doing their tour so when their plans fell through, ours fell through too because we were about to do the Dangerous Minds soundtrack and we had just recorded a song with Craig Mack. It was collaboration with Bad Boy and plans just fell through. Jodeci broke up and the whole camp really broke up.
YouKnowIGotSoul: Take me through a day in the life of Da Bassment.
LaShawn Shellman: We all sat around, we sang and we were young. Everybody was talented, it was nothing but singing going on around there. I remember Static from Playa, he used to whistle tunes and other members of Da Bassment would join in with harmonies. It was just fun, we had a good time and it was a good atmosphere. To be honest, there were some bad memories but overall to me, it was very good memories. I can remember when the rollerblades first came out and we were all trying to get in the shape. We would get up at 5 in the morning and meet at the park. We'd go rollerblading and playing basketball. I always used to always beat Dalvin in basketball. *Laughs* We had fun, it was really fun for us. We were young and away from home and just doing what we loved to do which is sing.
YouKnowIGotSoul: I know Sista was one of the earlier acts, so did it ever make you feel a certain way that while you guys were signed to Devante, he continued to add different members to Da Bassment?
LaShawn Shellman: To me, it didn't bother me in the beginning because I just felt like he was sharing his musical genius with the world and he had an idea of what he wanted his company to be, but it kind of took the focus off of us. The focus was there, we were the first group released off Da Bassment crew, but the attention that was supposed to be put on us wasn't always there because his attention was spread out so much. It was like "Okay we're doing Sista's project but we have to squeeze Ginuwine somewhere." It was always other people, but I loved it because it was family-oriented. Business-wise, it could have been handled different but I think he had something good, it just didn't turn out the way he wanted it to.
YouKnowIGotSoul: Speaking of Static, we're actually huge fans of his writing. Can you talk to me about what it was like working with Static?
LaShawn Shellman: He was like my little brother. They were from Kentucky. We were a little older than they were. Static was cool, he used to come up to the apartment and just write songs and harmonize. He was a good soul, he always had a smile on his face. We used to just sit around, sing, harmonize and just have fun. We would just dream that our music would be shown to the world.
YouKnowIGotSoul: Talk about the end of Da Bassment for Sista.
LaShawn Shellman: We were young and we had put blood, sweat and tears into our projects. We just got discouraged at the end basically. We all had our own lives before Da Bassment and Jodeci. Some of us stayed back in New York, Missy stayed back doing little things. I went to certain projects with her with Aaliyah, we were on the "If Your Girl Only Knew" video set, I was going to be in that. We tried to do different things and things just didn't work out. I had kids, I was young. I was the only one with kids, so I decided to come home. Things just didn't work out, we just got discouraged.
YouKnowIGotSoul: After Da Bassment, were you guys still a group or did you guys break up?
LaShawn Shellman: From when we first broke up, we made a pact that Sista would always be forever. If one got put on, the other would get put on. I could remember going into the record label. Sheryl Konigsberg, she was a lady working with Jodeci at the time, she was like "Stuff is about to hit the fan. A lot is about to go on. I think you should do a solo project." She took me to a record company and snuck me into a meeting with Busta Rhymes' people and Salt-n-Pepa and I actually turned that record deal down because they didn't want Sista on board. I felt like Sista made a pact that if one got put on, we all got put on and I didn't feel comfortable taking the deal. At that point, we were a group but at another point, Missy ended up taking hers. She already had writing credibility with different artists, so that's when the group started shying away from one another because our intentions were in different scenarios. I was kind of upset because I turned down my solo deal, but it is what it is. At the time, we were a group when we first broke apart but other things happened. People started going different directions.
YouKnowIGotSoul: During that time period, were you still trying to pursue a music career?
LaShawn Shellman: When I left New York, I left Puffy's studio Daddy's house, I was doing some work out there. I just came home and tried to regroup. I got my kids and raised them, but I was still doing music. Missy used to call me all the time like "Hey LaShawn, I just signed Tweet to a record deal" and "Guess what? I just signed Nicole Wray to a record deal." But for me, it was like "Okay great, but what about your group?" It was never any type of collaboration with Sista. I started doing solo projects. I've done mad underground music. I've got a lot of music, my kids do music. I still do music and a lot of people invite me to ghost write on their stuff and I give pointers and I try to teach what I've learned in the business. I still do music to this day. I just released a song on YouTube, it's a dedication to Sista, Jodeci and Da Bassment crew. It's basically a song saying that it's me again and it's basically me stating how some time has passed and I would love to see them, it's just a song dedicated to them.
YouKnowIGotSoul: It seems now you're really trying to push forward with that music dream again. Why do you feel like now is the right time?
LaShawn Shellman: I always thought Da Bassment crew was premature. If you've noticed a lot of the things Timbaland, Missy Elliott, Ginuwine and Playa do, our music still lives on. It's almost as if we were before our time. My kids are in music now. I have a 22 and a 21 year old who are pursuing their music career, so I try to guide them in the right direction. I've been doing music for all these years and people are like "Why aren't you trying to get a record deal?" Well, I really don't want to be an artist, I just want to be a ghostwriter. I just want people to hear my music and lyrics because I felt like I never had the chance to show the world LaShawn before Sista. I have that love of music and I just love music and that's what I do. If it wasn't for music, I wouldn't be LaShawn. I tried to put it on hold and forget about it, but people still love my music. I still got the ability and talent God gave me, so why not push it? It's not really for me, it's for my fans because those are the ones that keep asking me "When can we hear something from you?" I basically released that song on YouTube for my fans because they hit me up on Facebook all the time. That's basically why I'm doing it now because the love is still there, I still got a little fan base and I really think my music is good and the world should hear it.
YouKnowIGotSoul: To this day a lot of people still talk about Da Bassment even though none of the music you guys made actually was released. How do you kind of explain that?
LaShawn Shellman: I just think we had something. Devante saw it a long time ago and we still have talent. The business to me nowadays is all about who you know. The talent is there, but it's not real singing. The people who have heard our music even though it was underground, they could feel it. Whatever we did, it came from the soul. It wasn't those Hip Hop or Rap beats, it was singing. I think we left an impression on the world and I just want to give a little back to those who are still supporting me, Sista, Jodeci and Da Bassment movement. I thought I was forgotten about until Facebook came about. Facebook networking is amazing because it has connected me with fans and people from Da Bassment crew. That's basically where I'm hearing that they're still interested in Da Bassment crew.
YouKnowIGotSoul: I believe you were trying to get something done for a book. Talk about that if you can.
LaShawn Shellman: I really don't want to put too much out there, but I'm in the process of writing a book about my life. I dated K-Ci, we have a 13 year old son together. He was premiered on the K-Ci & JoJo show. It's a lot of history behind my life that people still ask me about. I basically get tired of repeating those questions over and over, so I'm just going to give them a little insight about my life and what I experienced. It wasn't just Missy or Ginuwine or Timbaland, it was Da Bassment. There were more members of the group. They're only hearing Missy's side and how she felt, it was 4 girls and I'm trying to inspire Radiah and Chonita to speak out also. We were not just pretty faces and I read in magazines and I've heard interviews that we were basically referred to as pretty faces. I was the lead singer, I was the one who did all the leads on the stage. Basically, it's just to get my voice heard for me.
YouKnowIGotSoul: Speaking of Devante, there have been a lot of different opinions about him and how he handled Da Bassment. Looking back at it now, how do you think Devante handled everything?
LaShawn Shellman: I've always been the one who has been on his side because Devante was a genius. If it wasn't for Devante, a lot of people may not have got their chances to even be a part of Da Bassment. Devante had his ways, he was very stern and strict, but he had a vision. We were a part of that vision and that respect has always been there musically. He could have handled certain situations differently, but he had a lot of lives in his hands, he had a lot of people looking up to him and depending on him. I think he did a good job, but the Jodeci thing kind of deterred him. He tried to handle so many careers and situations, he just got sidetracked. I don't fault him, I don't blame him or hate him. I still chat with him to this day. He always told me "You're going to be okay because you have talent." I love Devante to this day. Nobody is perfect.
LaShawn Shellman: I just want all our fans to know that we enjoyed being Sista, I wish it could have lasted longer. I wish things could have ended differently. I still got love for Da Bassment, it was the best part of my life.


TORONTO – Ontario is looking for public input on protecting water resources when it comes to expanding a protected area known as the Greenbelt.
It is currently about 810,000 hectares of protected land – including farmland and forests – that borders the Greater Golden Horseshoe area that surrounds Lake Ontario.
The government says the Greenbelt is also home to more than nine million people, but is experiencing significant growth and pressure from urban development.
Ontario is seeking public consultation on seven areas whose water the province deems most in need of protection, including moraines, cold water streams and wetlands in the outer ring of the Greater Golden Horseshoe.
About 10,000 hectares were added to the Greenbelt this year, which the government says include 21 new urban river valleys and associated coastal wetland areas that connect to Lake Ontario.
People can send feedback to the government on the Ministry of Municipal Affairs website or the province's environmental registry by March 7.
The government says the study area isn't a proposed new Greenbelt boundary.
– The Waterloo and Paris/Galt moraine complex in Waterloo Region, Brant and Wellington counties.
– The Orangeville Moraine in Wellington and Dufferin counties.
– Several small moraines, including the Gibraltar and Singhampton moraines, along the brow of the Niagara Escarpment in Dufferin and Simcoe counties.
– The Oro Moraine in northeast Simcoe County, west of Orillia and Lake Couchiching.
– The Nottawasaga River corridor, including the Minesing Wetland, in Dufferin and Simcoe counties.
– The coldwater streams and wetlands west of Minesing in Dufferin and Simcoe counties.
– The coldwater steams, wetlands, and sand and gravel areas in southeast Simcoe County.


text:
iOS app to find nearby places using MapKit
![N|Solid](https://github.com/VishalNandoriya/NearBy/blob/master/Simulator%20Screen%20Shot%2017-Apr-2017%2C%203.33.04%20PM.png)
![N|Solid](https://github.com/VishalNandoriya/NearBy/blob/master/Simulator%20Screen%20Shot%2021-Apr-2017%2C%204.40.11%20PM.png)

redpajama_set_name: RedPajamaGithub


text:
Q: Wrong or no simulation results of FFT when StopTime ist too high in OpenModelica I'm using the realFFT library with OpenModelica to analyze the frequencies in a PWM signal.
When I analyze frequencies below 10 kHz everything works fine.
But as soon as I set my maximum frequency to more than 10 kHz my simulation either calculates wrong results, crashes or says that it simulated but doesn't show the results.
What I found out so far:
I have a the samplePeriod=8.3us and the number of samples ns=6000 for a max frequency of f_max=12kHz and a resolution of f_res=20Hz which results in a stopTime>=(6000-1)*8.3us --> stopTime>=0.05s (according to the library).
So I simulated with this stopTime and it worked but when I set stopTime=0.1s it doesn't show any results but says that it simulated fine. When I further increased the stopTime to 0.2s it calculated wrong results.
This doesn't make sense to me, why should it fail with an increased stopTime?
Might this be another OpenModelica issue and works fine with Dymola?
Here are my models:
model TestRealFFT
  Modelica.Blocks.Sources.Pulse pulse1(amplitude = 1, offset = 0, period = 100e-6, width = 40) annotation(
    Placement(visible = true, transformation(origin = {-168, 16}, extent = {{-60, -60}, {60, 60}}, rotation = 0)));
  FFTmath fFTmath1(f_max = 12000, f_res = 20) annotation(
    Placement(visible = true, transformation(origin = {176, 8}, extent = {{-80, -80}, {80, 80}}, rotation = 0)));
equation
  connect(pulse1.y, fFTmath1.u) annotation(
    Line(points = {{-102, 16}, {68, 16}, {68, 8}, {80, 8}}, color = {0, 0, 127}));
  annotation(
    stopTime = 2,
    Diagram(coordinateSystem(extent = {{-300, -250}, {300, 250}})),
    Icon(coordinateSystem(extent = {{-300, -250}, {300, 250}})),
    __OpenModelica_commandLineOptions = "",
    experiment(StartTime = 0, StopTime = 0.2, Tolerance = 1e-06, Interval = 8e-06));
end TestRealFFT;

and
model FFTmath
  import Modelica.Constants.{pi};
  import Modelica.Math.FastFourierTransform.*;
  import Modelica.SIunits.*;
  Modelica.Blocks.Interfaces.RealInput u annotation(
    Placement(visible = true, transformation(origin = {-120, 0}, extent = {{-20, -20}, {20, 20}}, rotation = 0), iconTransformation(origin = {-120, 0}, extent = {{-20, -20}, {20, 20}}, rotation = 0)));
  parameter Frequency f_max = 12000 "Maximum frequency of interest";
  parameter Frequency f_res = 20 "Frequency resolution";
  final parameter Integer ns = realFFTsamplePoints(f_max, f_res, f_max_factor = 5) "Number of samples";
  final parameter Integer nf = div(ns, 2) + 1 "Number of frequency points";
  final parameter Integer nfi = max(1, min(integer(ceil(f_max / f_res)) + 1, nf));
  final parameter Frequency f_i[nfi](each fixed = false) "FFT frequencies of interested frequency points";
  parameter Time samplePeriod = 1 / (2 * f_res * div(ns, 2));
  output Integer info(start = 0, fixed = true) "Information flag from FFT computation";
  Integer iTick(start = 0, fixed = true);
  discrete Real Buf[ns](start = zeros(ns), each fixed = true) "Input buffer";
  Real A_i[nfi](start = zeros(nfi), each fixed = true) "FFT amplitudes";
  Real Phi_i[nfi](start = zeros(nfi), each fixed = true) "FFT phases";
  Real y(start = 0, fixed = true);
  // "Signal from which FFT is computed";
initial equation
  for i in 1:nfi loop
    f_i[i] = (i - 1) * f_res;
  end for;
equation

algorithm
  when sample(0, samplePeriod) then
    iTick := iTick + 1;
    y := u;
    if iTick <= ns then
      Buf[iTick] := y;
    end if;
    if iTick == ns then
      (info, A_i, Phi_i) := realFFT(Buf, nfi);
    end if;
  end when;
//3 * sin(2  * pi * f1 * time) + sin(2 * pi * f2 * time);
  annotation(
    Documentation(Icon(graphics = {Text(origin = {-42, 62}, extent = {{110, -78}, {-30, 18}}, textString = "FFT"), Rectangle(origin = {0, -79}, fillPattern = FillPattern.Solid, extent = {{-80, -1}, {80, 1}}), Rectangle(origin = {-79, -49}, fillPattern = FillPattern.Solid, extent = {{-1, -29}, {1, 29}}), Polygon(origin = {-79, -15}, fillPattern = FillPattern.Solid, points = {{0, -5}, {-6, -5}, {0, 5}, {6, -5}, {6, -5}, {0, -5}}), Polygon(origin = {85, -79}, rotation = -90, fillPattern = FillPattern.Solid, points = {{0, -5}, {-6, -5}, {0, 5}, {6, -5}, {6, -5}, {0, -5}}), Rectangle(origin = {-59, -65}, fillPattern = FillPattern.Solid, extent = {{-1, 23}, {1, -15}}), Ellipse(origin = {-59, -39}, fillPattern = FillPattern.Solid, extent = {{-3, 3}, {3, -3}}, endAngle = 360), Ellipse(origin = {-49, -61}, fillPattern = FillPattern.Solid, extent = {{-3, 3}, {3, -3}}, endAngle = 360), Ellipse(origin = {-19, -53}, fillPattern = FillPattern.Solid, extent = {{-3, 3}, {3, -3}}, endAngle = 360), Ellipse(origin = {25, -67}, fillPattern = FillPattern.Solid, extent = {{-3, 3}, {3, -3}}, endAngle = 360), Ellipse(origin = {31, -49}, fillPattern = FillPattern.Solid, extent = {{-3, 3}, {3, -3}}, endAngle = 360), Rectangle(origin = {-49, -65}, fillPattern = FillPattern.Solid, extent = {{-1, 1}, {1, -15}}), Rectangle(origin = {31, -65}, fillPattern = FillPattern.Solid, extent = {{-1, 15}, {1, -15}}), Rectangle(origin = {-19, -63}, fillPattern = FillPattern.Solid, extent = {{-1, 7}, {1, -15}}), Rectangle(origin = {25, -63}, fillPattern = FillPattern.Solid, extent = {{-1, -5}, {1, -15}}), Ellipse(origin = {-67, -61}, fillPattern = FillPattern.Solid, extent = {{-3, 3}, {3, -3}}, endAngle = 360), Rectangle(origin = {-67, -63}, fillPattern = FillPattern.Solid, extent = {{-1, 1}, {1, -15}}), Rectangle(origin = {37, -63}, fillPattern = FillPattern.Solid, extent = {{-1, -5}, {1, -15}}), Ellipse(origin = {37, -67}, fillPattern = FillPattern.Solid, extent = {{-3, 3}, {3, -3}}, endAngle = 360), Line(points = {{-100, 100}, {100, 100}, {100, -100}, {-100, -100}, {-100, 100}, {-100, 100}}, thickness = 0.5)}),
    Diagram,
    __OpenModelica_commandLineOptions = "");
end FFTmath;

I'm very thankful for any help!

A: Looks like a bug in OpenModelica. Please open a ticket about it on trac.openmodelica.org.
Problem 1 Huge result files are breaking
When simulating with OpenModelica (v1.14.0-dev-26633-gd9901afc5b) for 0.05 sec simulation time the result mat-file is already 1.06 GB. For 0.1 sec you get around 2.1 GB and a corrupt header.
Problem 2 Wrong results
When you simulate interval [0, 0.2] the solution is completely wrong. Values of y are somewhere around 1.4e+31 and time goes up to 5e+218. Could be because of the broken result file.
But even if you reduce tolerance and interval it won't simulate correctly, maybe because of the huge amount of events.
Works in Dymola 2019, but needs a lot of time to open the result files.

redpajama_set_name: RedPajamaStackExchange


text:
I'm a writer, by profession and for fun.
Here you'll find some of the fun stuff.
Took me a while to write novels, but now I've published three of them. I've posted the first chapters of each of the novels, accessible via this page or through these links . . .
Whatever Gods May Be, my first novel, was published by Bold Strokes Books in 2010 and, to my delight, won several awards. These included a 2011 Golden Crown Literary Society Award for Dramatic General Fiction, a Lesbian Fiction Readers Choice Award as one of 2010's five favorite general fiction books, a 2011 LGBT Rainbow Awards Honorable Mention for Best Lesbian Debut Novel. Whatever Gods May Be also a made me 2011 Golden Crown Debut Author finalist.
Shadows of Something Real, the sequel to Whatever Gods May Be, arrived in 2013.
Omnipotence Enough, which completes what's become known as the Jamie Gwynmorgan series (a trilogy, actually), was published in October 2017.
All three of these novels are available from my publisher, Bold Strokes Books, as well as from any bookseller.
I offer up some of my BITD (back in the day) scribblings:
Quick-fic, featuring Willa and her donuts, and
Several essays which you may, even now, find a bit thought-provoking.
I invite you to take a few minutes to roam these pages and, I hope, enjoy what you find.
the Jamie Gwynmorgan trilogy
Jamie Gwynmorgan doesn't believe in prayer. She doesn't believe in anything much. Except that people can't be trusted—certainly not anyone she's ever met.
But Jamie knows some things. From experience. She knows if she died, nobody would give a damn. Nobody would even notice. She knows the better she can fight, the safer she'll be.
That's why she can't resist the sleek, dark lethality of the weapon—and the recruiter's promise that yes, if she's strong enough, good enough, she'll get to fire that weapon in combat.
She doesn't care about the uniform. And screw the pretend-camaraderie. Only Safe matters—and if she can do combat, then maybe she can fight her way to Safe.
Jamie expects a grueling fight that she might lose. What she never expects is to win love.
Whatever Gods May Be is available in print and ebook from Bold Strokes Books or any bookseller.
Read an excerpt from
Whatever Gods May Be
In some ways, Marine Lieutenant Jamie Gwynmorgan has it pretty good. The motherly kindness of Lynn Hillinger, the senator she saved during the war that nearly killed them both, never wavers. Plus she has a great place to stay while she's on convalescent leave—and a steady supply of the best lemonade on Earth.
But flashbacks and nightmares shadow her as she tries to decide: Attempt a return to active duty, or…what?
Jamie doubts she can ever achieve the peaceful life she dreams of—until she meets smart, idealistic Adele Sabellius. As their relationship deepens, almost anything seems possible.
Soon, however, Jamie learns that something more menacing than nightmares and flashbacks has begun to twist the restless shadows around her. Though she may never understand why Adele loves her, Jamie will do whatever it takes to keep Adele safe when relentless enemies emerge from those darkening shadows to threaten yet another war.
Shadows of Something Real is available in print and ebook from Bold Strokes Books or any bookseller.
Shadows of Something Real
War veteran Jamie Gwynmorgan had made a sweet life for herself. Then, one morning on her way to work, she's abducted off the street. She doesn't know why. Or who did it. Or where she's been taken. She can't even measure the passage of time.
Utterly alone, only rarely able to hear a human voice, prohibited from seeing human faces, even her own, Jamie endures in a sinister, disorienting fog that devours her memories of before and weakens her grip on sanity—until a bit of contraband darts into her imploded world with a message, and with hope.
It's just a tiny voice recorder/player, no doubt unwillingly forsaken, but it gives Jamie the means to measure time, to remember. And if she can remember before, then maybe she can find her way home to reclaim the life and the deep, abiding love some unknown enemy has stolen from her.
Omnipotence Enough is available in print and ebook from Bold Strokes Books or any bookseller.
Omnipotence Enough
excerpts: the Jamie Gwynmorgan trilogy . . . . scribblings from BITD . . . . about Sophia Kell Hagin . . . . contact me by email
Please note that everything on these webpages is protected by copyright, which means all rights are reserved
and it's not okay to steal any of this or send it off to torrent sites, etc.— but what you find here is freely available for your personal reading and viewing enjoyment.
Contents copyright © by Sophia Kell Hagin unless otherwise noted


Since the 1960s, the Congolese have endured over two decades of armed conflict with over 5.4 million people dead due to war-related causes, making it the deadliest conflict since World War II.
Congolese armed groups and elements of the army have a long, brutal history of recruiting child soldiers. The United Nations report at least 1,000 cases of child soldier recruitment between January 2012 and August 2013.
The oldest national park in Africa is the Congo's Virunga National Park. It is home to rare mountain gorillas, lions, and elephants. The park is currently under threat by the UK oil company, Soco, which has begun oil exploration there.
In the DRC, only 1.8% of existing roads are tarred and less than 10% of the population has access to electricity today. Recently there have been pushes to improve, including the announcement of a $1 billion package from the World Bank for infrastructure.The Democratic Republic of the Congo hosts the United Nations' largest peacekeeping mission in the world, with over 21,000 soldiers from approximately 50 different countries.
Due mainly to the ongoing instability in the eastern part of the country, about 450,000 refugees from the DRC remain in neighboring countries, particularly Burundi, Rwanda, Tanzania, and Uganda.
The DRC is among the most resource-rich countries on the planet, with an abundance of gold, tantalum, tungsten, and tin – all minerals used in electronics such as cell phones and laptops – yet it continues to have an extremely poor population.
Tin, tungsten, tantalum, and gold have been dubbed "conflict minerals." Armed groups use the profits from sales for campaigns of violence. Some companies are becoming more accountable by tracing their supply chains.
Former NBA All-Star Dikembe Mutombo was born in the Democratic Republic of the Congo. In 1997, he founded a humanitarian foundation to improve the health, education and quality of life for the people in the DRC.


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text:
Preacher James McConnell From Northern Ireland Jailed For Preaching Against Islam
In a May 2014 sermon, James McConnell told worshippers at the Whitewell Metropolitan Tabernacle in Belfast: "Islam is heathen. Islam is satanic." The sermon was streamed online, and 78-year-old McConnell has been charged with transmitting the message over an electronic communications network.
The 78-year-old preacher has been charged under the 2003 Communications Act with making "grossly offensive" remarks about Islam.
by Geoffrey Grider December 14, 2015
An evangelical preacher from Northern Ireland who branded Islam satanic has been charged with spreading a "grossly offensive" message
"And without controversy great is the mystery of godliness: God was manifest in the flesh, justified in the Spirit, seen of angels, preached unto the Gentiles, believed on in the world, received up into glory." 1 Timothy 3:16 (KJV)
The window of freedom that gospel preachers around the world have long enjoyed to be able to preach the gospel of Jesus Christ might very well be starting to close. If preaching a message that "Islam is satanic" (which it is) is now a crime, then none of us will be left standing when the dust settles. In the New World Order, any Bible preacher who dares to lift the lid on the demonic truth of what Islam really is will be silenced. Islam is not a religion, it is a violent and fascist ideology, bent on world conquest, and enforced at the tip of a knife blade.
BREAKING NEWS: The trial of Pastor James McConnell began today December 14, 2015
In a May 2014 sermon, Pastor James McConnell told worshippers at the Whitewell Metropolitan Tabernacle in Belfast: "Islam is heathen. Islam is satanic." The sermon was streamed online, and 78-year-old McConnell has been charged with transmitting the message over an electronic communications network.
Prosecutor David Russell told Belfast Magistrates' Court Monday that the case had "nothing to do with religion or freedom of expression."
He said McConnell "characterizes the followers of an entire religion in a stereotypical way. And that's grossly offensive and that's not protected from saying it from a pulpit." McConnell denies the charges, and told police he didn't intend to offend, insult, arouse fear or stir up tension.
Pastor James McConnell's Full-Length Sermon On Islam:
Listen to the sermon that got Pastor McConnell put in jail, and decide for yourself if it was "hate speech" or just good, Bible preaching.
"The Muslim god is a heathen deity, Allah is a cruel deity, and Allah is a demon deity" Pastor McConnell says is his sermon. He goes on to say that the embrace of Islam by England will be it's downfall, which most certainly is true. These words are his crime and considered to be "hate speech". Nowhere is his sermon does Pastor James McConnell call for violence or oppression of any Muslim people. What he does do, however, is make a passionate plea for New Testament Christianity, and perhaps that is what has really landed him in legal hot water.
"I know the time will come, in this land, and in this nation, that to say such things will be an offense to the law.", McConnell goes on to say. "The Muslim religion was created many hundreds of years after Christ. But Muslims believe that everyone in the Old Testament, up to and including Jesus Christ, was a Muslim." He outlines many of the lies and untruths of Islam in a rational, calm and intelligent way.
Everything that Pastor McConnell says in this sermon is absolutely true, and in line with the teachings of the Bible. But Biblical truth is not welcome and has no place in the New World Order bent on installing Sharia Law around the world. Pray for Pastor McConnell, right now it is his time in the "hot seat".
But you and I are next.
James McConnell


Need 4 or 5 quart lidded pot that can withstand high baking temperatures (such as cast iron).
Combine dry ingredients. Add water a little at a time, stirring with a wooden spoon. Cover, and let sit 18 - 24 hours. Put pot into a preheated 450 degree oven, leave for 30 minutes. While pot is heating, turn dough out onto a floured surface and with floured hands, form into a free form ball. Let rest under a towel. When the heated pot is ready, remove from oven and lift dough into it. Bake for 30 minutes with lid on, remove lid and bake for another 20 minutes. Turn out immediately and let cool before slicing.


text:
from __future__ import print_function
import logging
import argparse
import os
import time
import sys
import shutil
import csv
import re
import subprocess, threading
import pygal
import importlib
import collections
import threading
import copy
'''
Setup Logger and LogLevel
'''
def setup_logging(log_loc):
    if os.path.exists(log_loc):
        shutil.move(log_loc, log_loc + "_" + str(int(os.path.getctime(log_loc))))
    os.makedirs(log_loc)

    log_file = '{}/benchmark.log'.format(log_loc)
    LOGGER = logging.getLogger('benchmark')
    LOGGER.setLevel(logging.INFO)
    formatter = logging.Formatter('%(asctime)s %(levelname)s:%(name)s %(message)s')
    file_handler = logging.FileHandler(log_file)
    console_handler = logging.StreamHandler()
    file_handler.setFormatter(formatter)
    console_handler.setFormatter(formatter)

    LOGGER.addHandler(file_handler)
    LOGGER.addHandler(console_handler)
    return LOGGER

'''
Runs the command given in the cmd_args for specified timeout period
and terminates after
'''
class RunCmd(threading.Thread):
    def __init__(self, cmd_args, logfile):
        threading.Thread.__init__(self)
        self.cmd_args = cmd_args
        self.logfile = logfile
        self.process = None

    def run(self):
        LOGGER = logging.getLogger('benchmark')
        LOGGER.info('started running %s', ' '.join(self.cmd_args))
        log_fd = open(self.logfile, 'w')
        self.process = subprocess.Popen(self.cmd_args, stdout=log_fd, stderr=subprocess.STDOUT, universal_newlines=True)
        for line in self.process.communicate():
            LOGGER.debug(line)
        log_fd.close()
        LOGGER.info('finished running %s', ' '.join(self.cmd_args))

    def startCmd(self, timeout):
        LOGGER.debug('Attempting to start Thread to run %s', ' '.join(self.cmd_args))
        self.start()
        self.join(timeout)
        if self.is_alive():
            LOGGER.debug('Terminating process running %s', ' '.join(self.cmd_args))
            self.process.terminate()
            self.join()
            time.sleep(1)
        return

log_loc = './benchmark'
LOGGER = setup_logging(log_loc)

class Network(object):
    def __init__(self, name, img_size, batch_size):
        self.name = name
        self.img_size = img_size
        self.batch_size = batch_size
        self.gpu_speedup = collections.OrderedDict()

def parse_args():
    class NetworkArgumentAction(argparse.Action):
        def validate(self, attrs):
            args = attrs.split(':')
            if len(args) != 3 or isinstance(args[0], str) == False:
                print('expected network attributes in format network_name:batch_size:image_size \
                \nThe network_name is a valid model defined as network_name.py in the image-classification/symbol folder.')
                sys.exit(1)
            try:
                #check if the network exists
                importlib.import_module('symbols.'+ args[0])
                batch_size = int(args[1])
                img_size = int(args[2])
                return Network(name=args[0], batch_size=batch_size, img_size=img_size)
            except Exception as e:
                print('expected network attributes in format network_name:batch_size:image_size \
                \nThe network_name is a valid model defined as network_name.py in the image-classification/symbol folder.')
                print(e)
                sys.exit(1)
        def __init__(self, *args, **kw):
            kw['nargs'] = '+'
            argparse.Action.__init__(self, *args, **kw)
        def __call__(self, parser, namespace, values, option_string=None):
            if isinstance(values, list) == True:
                setattr(namespace, self.dest, map(self.validate, values))
            else:
                setattr(namespace, self.dest, self.validate(values))
    parser = argparse.ArgumentParser(description='Run Benchmark on various imagenet networks using train_imagenent.py')
    parser.add_argument('--networks', dest='networks', nargs= '+', type=str, help= 'one or more networks in the format network_name:batch_size:image_size \
    \nThe network_name is a valid model defined as network_name.py in the image-classification/symbol folder.',action=NetworkArgumentAction)
    parser.add_argument('--worker_file', type=str, help='file that contains a list of worker hostnames or list of worker ip addresses that can be sshed without a password.',required=True)
    parser.add_argument('--worker_count', type=int, help='number of workers to run benchmark on.', required=True)
    parser.add_argument('--gpu_count', type=int, help='number of gpus on each worker to use.', required=True)
    args = parser.parse_args()
    return args

def series(max_count):
    i=1
    s=[]
    while i <= max_count:
        s.append(i)
        i=i*2
    if s[-1] < max_count:
        s.append(max_count)
    return s

'''
Choose the middle iteration to get the images processed per sec
'''
def images_processed(log_loc):
    f=open(log_loc)
    img_per_sec = re.findall("(?:Batch\s+\[30\]\\\\tSpeed:\s+)(\d+\.\d+)(?:\s+)", str(f.readlines()))
    f.close()
    img_per_sec = map(float, img_per_sec)
    total_img_per_sec = sum(img_per_sec)
    return total_img_per_sec

def generate_hosts_file(num_nodes, workers_file, args_workers_file):
    f = open(workers_file, 'w')
    output = subprocess.check_output(['head', '-n', str(num_nodes), args_workers_file])
    f.write(output)
    f.close()
    return

def stop_old_processes(hosts_file):
    stop_args = ['python', '../../tools/kill-mxnet.py', hosts_file]
    stop_args_str = ' '.join(stop_args)
    LOGGER.info('killing old remote processes\n %s', stop_args_str)
    stop = subprocess.check_output(stop_args, stderr=subprocess.STDOUT)
    LOGGER.debug(stop)
    time.sleep(1)

def run_imagenet(kv_store, data_shape, batch_size, num_gpus, num_nodes, network, args_workers_file):
    imagenet_args=['python',  'train_imagenet.py',  '--gpus', ','.join(str(i) for i in range(num_gpus)), \
                   '--network', network, '--batch-size', str(batch_size * num_gpus), \
                   '--image-shape', '3,' + str(data_shape) + ',' + str(data_shape), '--num-epochs', '1' ,'--kv-store', kv_store, '--benchmark', '1', '--disp-batches', '10']
    log = log_loc + '/' + network + '_' + str(num_nodes*num_gpus) + '_log'
    hosts = log_loc + '/' + network + '_' + str(num_nodes*num_gpus) + '_workers'
    generate_hosts_file(num_nodes, hosts, args_workers_file)
    stop_old_processes(hosts)
    launch_args = ['../../tools/launch.py', '-n', str(num_nodes), '-s', str(num_nodes*2), '-H', hosts, ' '.join(imagenet_args) ]

    #use train_imagenet when running on a single node
    if kv_store == 'device':
        imagenet = RunCmd(imagenet_args, log)
        imagenet.startCmd(timeout = 60 * 10)
    else:
        launch = RunCmd(launch_args, log)
        launch.startCmd(timeout = 60 * 10)

    stop_old_processes(hosts)
    img_per_sec = images_processed(log)
    LOGGER.info('network: %s, num_gpus: %d, image/sec: %f', network, num_gpus*num_nodes, img_per_sec)
    return img_per_sec

def plot_graph(args):
    speedup_chart = pygal.Line(x_title ='gpus',y_title ='speedup', logarithmic=True)
    speedup_chart.x_labels = map(str, series(args.worker_count * args.gpu_count))
    speedup_chart.add('ideal speedup', series(args.worker_count * args.gpu_count))
    for net in args.networks:
        image_single_gpu = net.gpu_speedup[1] if 1 in net.gpu_speedup or not net.gpu_speedup[1] else 1
        y_values = [ each/image_single_gpu for each in net.gpu_speedup.values() ]
        LOGGER.info('%s: image_single_gpu:%.2f' %(net.name, image_single_gpu))
        LOGGER.debug('network:%s, y_values: %s' % (net.name, ' '.join(map(str, y_values))))
        speedup_chart.add(net.name , y_values \
            , formatter= lambda y_val, img = copy.deepcopy(image_single_gpu), batch_size = copy.deepcopy(net.batch_size): 'speedup:%.2f, img/sec:%.2f, batch/gpu:%d' % \
            (0 if y_val is None else y_val, 0 if y_val is None else y_val * img, batch_size))
    speedup_chart.render_to_file(log_loc + '/speedup.svg')

def write_csv(log_loc, args):
    for net in args.networks:
        with open(log_loc + '/' + net.name + '.csv', 'wb') as f:
            w = csv.writer(f)
            w.writerow(['num_gpus', 'img_processed_per_sec'])
            w.writerows(net.gpu_speedup.items())

def main():
    args = parse_args()
    for net in args.networks:
        #use kv_store='device' when running on 1 node
        for num_gpus in series(args.gpu_count):
            imgs_per_sec = run_imagenet(kv_store='device', data_shape=net.img_size, batch_size=net.batch_size, \
                                        num_gpus=num_gpus, num_nodes=1, network=net.name, args_workers_file=args.worker_file)
            net.gpu_speedup[num_gpus] = imgs_per_sec
        for num_nodes in series(args.worker_count)[1::]:
            imgs_per_sec = run_imagenet(kv_store='dist_sync_device', data_shape=net.img_size, batch_size=net.batch_size, \
                         num_gpus=args.gpu_count, num_nodes=num_nodes, network=net.name, args_workers_file=args.worker_file)
            net.gpu_speedup[num_nodes * args.gpu_count] = imgs_per_sec
        LOGGER.info('Network: %s (num_gpus, images_processed): %s', net.name, ','.join(map(str, net.gpu_speedup.items())))
    write_csv(log_loc, args)
    plot_graph(args)

if __name__ == '__main__':
    main()


text:
<?php

defined('BASEPATH') OR exit('No direct script access allowed');

/**
 * CodeIgniter Rest Controller
 * A fully RESTful server implementation for CodeIgniter using one library, one config file and one controller.
 *
 * @package         CodeIgniter
 * @subpackage      Libraries
 * @category        Libraries
 * @author          Phil Sturgeon, Chris Kacerguis
 * @license         MIT
 * @link            https://github.com/chriskacerguis/codeigniter-restserver
 * @version         3.0.0
 */
abstract class ADMIN_Controller extends CI_Controller {
	function __construct()
    {
        parent::__construct();
        $this->load->model('/ADMIN/Account_m');

    }

    protected function check_admin_login(){
    	$admin_login = isset($_COOKIE['sm_admin']);
    	if(!$admin_login){
    		redirect(base_url('/ADMIN'));
    	}else{

    	}
    }

    protected function get_admin_name(){
        return $this->Account_m->m_get_admin_name_by_id($_COOKIE["sm_admin"]);
    }

    protected function test(){
        echo"asd";
    }
}


Mauro is the founder. Terre Aromatiche is his idea that he brought forward with the same addictive enthusiasm and determination that always characterized his way of living and his projects.
Degree in Agronomy in Agricultural and Food Science, great sustainer of organic and quality farming, he took on the challenge of creating a farm on his own image, expression of his creativity, charisma and ability to look beyond.
Alberto, the dad, retired land surveyor and ski instructor for hobby, today is the one incharged of the operational aspects of the farm.
Lucia, the mum, retired french teacher, help Alberto in the management of the farm, giving a fundamental support in the lab during the honey estraction and blueberries picking and selling season.
Stefano, Mauro's brother, lives in Canada, where he works as an environmental engineer in mining. Stefano is also a ski instructor.
He inherited the farm from Mauro and he is carrying it forward with passion with the role of coordinator and manager. His vision: grow Terre Aromatiche with the same spirit and enthusiasm of which the farm was initially created.


text:
Oxford University innovation could help maintain electricity for millions around the world
[Dec 15, 2021: University of Oxford]
In order to test their approach, the authors partnered Bboxx, a next generation utility providing clean energy in developing countries. (CREDIT: BBoxx)
Millions of people around the world lack access to electricity. Decentralised solar-battery systems are key for addressing this whilst avoiding carbon emissions and air pollution, but are hindered by relatively high costs and rural locations that inhibit timely preventative maintenance. When batteries in such systems fail, it can be difficult to replace them and can leave people stuck without access to power.
Knowing when the batteries are likely to fail is therefore crucial in planning repair logistics and minimising power supply downtime. Now a unique approach to calculating battery failure, affiliated to the Faraday Institution's Multiscale Modelling project, has been shown to make predictions that are 15-20% more accurate than current approaches used on the same dataset. The paper, from the University of Oxford and the Faraday Institution, has been published today in Joule.
In order to test their approach, the authors partnered Bboxx, a next generation utility providing clean energy in developing countries, which provided real-world operating data. This avoided the limitation of past studies on battery health modelling, which have mainly used small datasets collected under laboratory conditions.
Over a period of up to 2 years, raw measured voltage, current and temperature data from more than 1000 operational batteries in Africa were collected via Bboxx. No additional sensors or requirements are required for this method, enabling the energy systems to stay continuously online.
Why fast charging reduces the capacity of a car battery
Ultrasound can enable faster, more sustainable battery recycling
Auto sector shifts gear towards recycling parts and batteries
Professor David Howey, from the Department of Engineering Science at the University of Oxford, says: 'Our approach is unique in showing how physics-based machine learning can work in real-world battery applications at scale. We use advanced probabilistic machine learning techniques to infer battery internal resistance as a function of current, temperature, state of charge and time, enabling calibration to standard conditions.'
He adds, 'The success of the approach is due to the combination of a population-wide health model and a battery-specific health indicator that becomes increasingly informative towards end of life.'
The techniques provide insight into the factors that drive battery aging, such as extremes of voltage and temperature, and the method is applicable to any battery that can be represented with a simple electrical circuit model.
Prof. Howey says, 'These results are of interest to a wide audience of battery operators and customers and can be used to accelerate innovation in understanding battery performance, especially if organisations make operational data more widely available in the way Bboxx have pioneered here. We are delighted that this research paper is a first of its kind demonstration of a scalable approach for getting insights from field data.'
Bboxx, a next generation utility that manufactures, distributes and finances decentralised solar powered systems in developing countries, has agreed to make the data - more than 600 million rows of operational measurements from real battery systems - openly available.
Prof. Howey says: 'We hope this will prove to be a key resource for the community and kickstart efforts to analyse field data for new insights into battery performance.'
Note: Materials provided above by the University of Oxford. Content may be edited for style and length.
Tags: #New_Innovation, #Green_Innovations, #Global_Good_News, #Battery_Failure, #Science, #Research, #Batteries, #The_Brighter_Side_of_News
Green Innovations


text:
2023 Mazda MX-30 Design, Engine, And Price
2023 Mazda MX-30
New Model Mazda MX-30 is a new sports car that was announced by the company in 2015. The car is designed to compete with similar models from other brands such as the Audi S4, BMW M3, and Mercedes-Benz C250. The Mazda MX-30 has a turbocharged engine that produces 300 horsepower, which is more than most of its competitors. The car also has a lightweight chassis and comfortable seats that make it perfect for long drives.
Mazda MX-30 History
Mazda MX-30 ev msrp was first introduced in 1989. It was a compact sports car that Mazda wanted to compete with the likes of the Toyota Corolla and Honda Civic. new Mazda featured a 1.6-liter engine, front-wheel drive, and a five-speed manual transmission. The car had good fuel economy ratings and was comfortable to drive. However, sales were disappointing, and the MX-30 was discontinued in 1992.
Mazda MX-30 Design:
Mazda MX-30 images was designed by the Japanese car company with a focus on efficiency and practicality. It features a sleek design with sharp lines and an aggressive front end. The car also has a spacious interior that is perfect for larger families or groups. In addition, the MX-30 comes equipped with many safety features, including blind spot monitoring and lane departure warning.
Mazda MX-30 Interior
Mazda's MX-30 interior is a modern take on the small sports car segment. It has a sleek and contemporary design, with plenty of features that set it apart from its competitors. The interior of new Mazda is packed with features and amenities, making it one of the most comfortable cars to drive. You'll enjoy the comfortable seats, excellent visibility, and efficient navigation system. The car also has a number of innovative features that make driving more enjoyable, such as the dash-mounted LCD screen and hands-free phone capability. If you're looking for a stylish and comfortable small sports car, you'll love Mazda's MX-30!
Mazda MX-30 Engine and performance:
Mazda MX-30 battery capacity has updated the MX-30 with a new 1.5-liter four-cylinder engine that produces 116 horsepower and 129 pound-feet of torque. The engine is mated to a 6-speed manual transmission or an optional 6-speed automatic. The New MX-30 is capable of reaching 60 mph in 7.8 seconds and can go on to reach a top speed of 130 mph. Fuel economy has also been improved, with the new engine delivering 26 combined mpg in the city and highway according to Mazda's estimates.
Mazda MX-30 Safety and practicality:
Mazda MX-30 engine is a midsize car that was released in 2017. It's considered a good car to buy because it has practicality and safety features. New MX-30 has a lot of safety features, including blind spot monitoring and forward collision warning. The car also has a lot of practicality features, such as an infotainment system with music streaming and Bluetooth capabilities.
Mazda MX-30 Pricing and availability:
Mazda MX-30 price is available in three trim levels: Sport, Grand Touring, and Signature. All trims come with a 2.0-liter four-cylinder engine and six-speed manual transmission. The Sport trim starts at $24,000, the Grand Touring at $28,000, and the Signature at $32,000. All three trims come with air conditioning, power windows and doorlocks, cloth upholstery, alloy wheels, cruise control and a sunroof.
Mazda MX-30 is not available in all states; it is only available as a 2017 model in California and Hawaii. It is not yet available in the major metropolitan areas of Florida or Texas.
After reviewing the Mazda MX-30, for sale it is clear that this small sports car is a great option for those looking for an affordable, fun to drive vehicle. At only 3,500 pounds, the MX-30 is nimble and easy to handle. The engine provides good power and fuel economy, making it a great choice for people who are on a budget. The suspension is also well balanced, making the MX-30 safe and enjoyable to ride in all types of road conditions. Overall, the Mazda MX-30 is an excellent choice for anyone looking for a fun car that won't break the bank.
2023 Mazda CX-50 Interior, Features, And Price
2023 Mazda CX-30 History, Interior, And Price
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text:
Photocatalysis-Electrolysis Hydrogen Generation System
In conventional electrolysis, water molecules first dissociate into intermediate ions, namely, negative hydroxyl ions (OH-), positive hydrogen ions (H+) and positive hydronium ions (H3O+), before further decomposition into oxygen and hydrogen. This process of generating hydrogen is inefficient due to the high probability of hydroxyl ions recombining with either hydrogen ions or hydronium ions to form back water molecules.
The technology described herein is related to a hybridised process which enhances hydrogen production rate of a conventional electrolysis system through combining the hybridised process with photocatalytic decomposition reaction. By combining the hybridised process with photo-catalytic decomposition, the probability of intermediate radical/ion recombination is reduced. This results in an increase in hydrogen and oxygen production of up to 25%. A prototype has been developed to demonstrate the feasibility and effectiveness of producing hydrogen and oxygen based on the hybrid photocatalyst-electrolysis method. With a strong knowledge in optimisation of the operating parameters in a hybrid photocatalyst-electrolysis reaction, the technology owner would like to seek partnership from the industry to commercialise the technology.
Conventional electrolysis of water requires the use of appliances that operate with at least 13-amp current or with a 3-phase power source. During electrolysis, water molecules first dissociate into intermediate ions, before further decomposing into oxygen and hydrogen. However, there is a high probability for these ions to recombine with each other to form water again. By combining electrolysis with photocatalytic decomposition, the presence of nanoparticles and UV light will help reduce the probability of intermediate ion recombination.
In conventional electrolysis, the electrolyte has high resistance which contributes to unwanted heat generation. Although electrolysis is an endothermic process, it is unable to absorb all the waste heat itself. Photocatalytic decomposition, too, is also an endothermic process. Thus, when combining with electrolysis, it will help in the absorption of heat that would otherwise be lost. This causes the hydrogen generation process to be more energy effective.
Hydrogen gas applications
One of the main interests of the invention is its use as a hydrogen gas generator. Using hydrogen as fuel to produce naked flame offers an alternative for various applications such as
Key customer segments include:
Acrylic Process
Cooking Application
Copper Brazing
Steam Boiler Application
Steel Cutting Application
Oxygen gas applications
The secondary interest of the invention is its use as an oxygen gas generator. High concentration or purity oxygen has medical uses, such as:
Provide a basis for virtually all modern anaesthetic techniques
Restore tissue oxygen tension by improving oxygen availability in a wide range of conditions such as chronic obstructive pulmonary disease (COPD), cyanosis, shock, severe haemorrhage, carbon monoxide poisoning, major trauma, cardiac/respiratory arrest
Aid resuscitation
Provide life support for artificially ventilated patient aid cardiovascular stability
Safety - Storage of flammable compound is not required. As the system is designed to enable safe release of residual hydrogen gas into the atmosphere, any risk of hydrogen explosion is eliminated
Minimise wastage or any possible risk of hydrogen leakage - hydrogen is generated on demand from water
Higher Energy Efficiency - Lesser electricity required to produce hydrogen gas compared to conventional electrolysis
Cost Effective - Lower cost of generating hydrogen gas compared to conventional electrolysis and investment in hydrogen gas storage system is not required
Dickson Phuan
Ngee Ann Polytechnic
Nano Materials
Hybridised Photocatalysis, Electrolysis, Hydrogen Generation, Oxygen, Hydrolysis