For those of you who have looked at our location (by using the link above), you won't have seen Serafina move for a month. Not what you'd expect during cruising season in the Mediterranean. But Birgit had a medical issue that had to be dealt with in Germany. It is successfully done, and she'll be back on the boat next week. We'll start moving again. I also took a short trip to Germany to renew my German equivalent of a "Green Card," which allows me to remain in the E.U. without visa issues.
Not exciting stuff (fortunately), but the marina in Messolonghi (one of the acceptable spelling variants) is pleasant, with a very good little café/bar/restaurant less than 50 meters from the boat. Messolonghi itself is a pleasant and apparently economically healthy town, almost exactly the same size as Licata, Sicily. At least four cruising boats that had wintered in Licata have been here in the marina, and catching up with old friends has been very pleasant indeed.
Makes sense, as the town is nearly surrounded by a linked series of lagoons and waterways that, at various times, must have supported a hell of a mosquito population. They aren't bad here now, maybe because some of the stagnant fresh-water ponds have been filled in to provide room for the for the town to expand.
In 1826, nearly two years after the death of Lord Byron, Messolonghi was suffering terribly from a sustained siege by overwhelming Ottoman forces, primarily from Egypt and Turkey. A plan was made for the inhabitants to flee the town in an exodus. But the plan was found out, and the invaders used the confusion to basically slaughter the entire population, those who didn't commit suicide, anyway. The house where Lord Byron died was filled up with Greek wounded, women and explosives. It was detonated to prevent any of the three from falling in to the hands of the invaders, who, it must be said, had a bad reputation in many places.
As a result of its role in the fight for independence, and the horrors that took place there, Messolonghi is referred to as "The Sacred City." The town, long since repopulated, has contributed significant writers, poets, doctors, generals and politicians to Greece.
But if it has been quiet here in the marina for the last month, it certainly has not been elsewhere in the world. We were able to look away from most of the spectacle this week in Cleveland, but couldn't miss Melania Trump's, Ted Cruz's and The Donald's orations, at least in part. Like many, I think we watched in the same spirit that used to draw people to county fairs to see the two-headed calf in the big jar of formadehyde.


text:
Chicken Mains
Re-Introducing Soubise: The Classic Three Ingredient Onion Sauce That Deserves a Comeback
Daniel Gritzer
Daniel joined the Serious Eats culinary team in 2014 and writes recipes, equipment reviews, articles on cooking techniques. Prior to that he was a food editor at Food & Wine magazine, and the staff writer for Time Out New York's restaurant and bars section.
Updated Aug. 10, 2018
Soubise, a creamy onion sauce, is a great way to use up extra onions. Daniel Gritzer
It's a rare day that I say to myself, I know, I'm going to pick a very specific dish, go shopping for it, and then cook it for dinner. That requires more planning, shopping, and cooking time than I have on most weeknights. More often, I stare into my fridge, scour my pantry, and think, what the heck can I whip up that uses some of this stuff up and still tastes really good?
It's tremendous fun, and a rewarding process, to cook methodically through classic recipes. But everyday improvisational cooking is just as important as pulling off a special-occasion dish. The key, aside from some creativity and good instincts, is to have a library of tricks up your sleeve—techniques and recipes that you keep in the back of your mind and can riff on in a pinch. Here's one: soubise sauce.
I thought of it a few days ago when I bought a few too many onions for my tarte flambée recipe, and was trying to come up with of a good way to use them. Soubise, an old-school French sauce made mostly from onions, isn't all too common these days, but it should be. It's incredibly easy to prepare, works with all sorts of meats—from roast chicken to pork and even fish—and lends itself nicely to variation.
The original recipe, going back to at least Escoffier, calls for cooking onions in butter until very soft but not at all browned, then adding bechamel to the pot and simmering them together before finally puréeing them into a smooth, thick sauce. (There's also a variation with rice in place of the bechamel, though even Escoffier recommends against it.) Since then, the sauce has changed a bit, most often lightened, if you can call it that, with cream in place of the bechamel.
Cream is more commonly used in soubise today, since it creates a lighter, less starchy sauce than the traditional bechamel.
I'd never made the bechamel version before, so I whipped one up just to see what it was like, and indeed it tastes heavier and starchy compared to plain cream. I think the modern cream-based version is the way to go.
Some recipes also say to blanch the onions in salted water before sautéing for a more refined onion flavor, so I tried that out as well. It's interesting to note how the blanched onions stayed more white throughout sautéing than the non-blanched ones did; presumably the natural sugars on the cut surface of the onion are washed off in the water, leading to almost no caramelization at all.
Blanched onions (a traditional soubise technique) develop almost no color at all during cooking, staying pearly white throughout, but the flavor isn't as good.
Tasting them side by side, I preferred the more pronounced, sweeter flavor of the non-blanched onions—that subtle caramelization has its benefits.
While I was careful not to let the non-blanched onions brown, they still managed to develop a subtle golden hue due to caramelization of the onion's natural sugars; while it's not as pearly white, I preferred the more robust, slightly sweet flavor of these onions in the finished soubise.
A plain soubise, seasoned with salt, pepper, and maybe a dash of grated nutmeg, is tasty enough, but it's still something of a blank canvas that's just begging for other flavors. For this recipe, I whisked in curry powder, which plays off the onion and cream well, then paired it with a basic roast chicken. It's an impressively elegant dish for something that's fundamentally so simple; a creamy, oniony gravy that feels more luxurious than a pan sauce.
The sauce is so easy you can whip it up while the chicken is in the oven and have dinner on the table in about an hour. The only real trick is making sure that the onions soften without browning—a heavy saucepan preferably with an aluminum core for better heat distribution is the best tool for the job, though a thinner pan set on a heat diffuser or within a larger skillet would do the trick as well.
The best part is that it's open to all sorts of variation. You could substitute some of the cream with stock for an even lighter and more flavorful sauce, or play with other flavorings. Whisking some grated cheese, like Gruyere, into the sauce right before serving would be amazing too, almost like a mashup of soubise and mornay (a cheesy bechamel sauce).
The possibilities are endless. All you need to start are a few extra onions.
Roasted Chicken With Classic or Curry Soubise (Onion Sauce) Recipe
The Food Lab Answers All Your Thanksgiving Questions
White Sauce Can't Clump: How to Make Smooth, Silky Béchamel
Our Tips for Meal Planning During Self-Isolation
29 Mushroom Recipes for Breakfast, Lunch, and Dinner
Facing Gestational Diabetes as a Food Lover
The Food Lab Answers Thanksgiving Questions: On Turkey, Non-Turkey Mains, Gravy
How to Make Earthy, Smoky Penne Boscaiola (Pasta With Mushrooms and Bacon)
Burger Toppings Week: Insane Mornay and Mushroom Duxelles Burger
Artichokes à la Barigoule: A Simple French Dish With a Twisted History
Rethinking Beef Stroganoff | The Food Lab
Unlock the Secret to Fresh Green Flavors in This Spring Pasta
Easy Oven-Cooked Pulled Pork Recipe
The Art of Tarte Flambée: Alsatian Pizza With Fromage Blanc, Bacon, and Onions
French Onion Soup (Soupe à l'Oignon Gratinée) Recipe
Mac and Cheese with Soubise Recipe | Cook the Book

redpajama_set_name: RedPajamaCommonCrawl


Heading on vacation is among one of the most wonderful and rewarding experiences you can have. 'Vacation' is a catch-all term, and we can often feel this only means recreation and doing nothing, but of course vacations are simply choreographed experiences that you might not have had otherwise. For that reason, they can take on a lot of characteristics and bestow you with many memories as you head on different ones. Making the most of each day on vacation is important to do, because it's very likely that this is a limited-time thing that you have saved for all year.
Remaining flexible with your plans will give you the ability to find new things to do if the old plans don't quite work out. It might be that a special promotion for something you didn't think you could afford is on, and that it might be worth doing that. Also consider just how easy an activity is to do. It might be you planned to go to a massive waterpark for the day, but you found out that two spots have opened up for you and your partner to visit a cultural activity you wanted to enjoy, but was fully sold out upon your inquiry. Remaining flexible with your time seems like it could just ruin your best laid plans, but it can actually help the day become more engaging, or simply open you up to better alternatives. In other words, don't set anything in stone unless it's of vital importance to you and your visit, because it's possible there's something else around the corner that might work for you.
Of course, sometimes it's best to take all of this out of your hands completely. For example, services such as those that offer 24 hours in Melbourne can give you a curated list of fantastic events to help you see the city and also help you apply adequate time to each. Services like this can help you visit some of the better taster hits of the day, while also opening you up to explore in more depth if you are so inclined. You can be sure that days like this are well choreographed, helping you get all of the good parts and none of the dead time. Who knows, you might also manage to share this time efficiently with people you very much appreciate meeting, and that in itself can be a wonderful consideration for holidaymakers with freedom as their first priority.
Remaining flexible yet opening yourself up to coregraphing a schedule with help can help your plans take on more of a personable light, the perfect balance of 'no pressure' and excitement. We only hope it helps your vacation shine.


text:
Q: Synchronizing model views between QML and C++ I'm learning QML and the communication between QML and C++ code.
In this example the views in QML and C++ should be synchronized via one common model. I've exported the model to QML. QML also shows correct number of items.
Unfortunately, the checked property is not synchronized (and no other actually) between C++ and QML in this example. Whereas two view in C++ code connected to the same model are synchronized.
What is missing? Or is it normal behavior, as probably the synchronization only one way?
main.cpp:
#include <QApplication>
#include <QQmlApplicationEngine>
#include <QStandardItemModel>
#include <QStandardItem>
#include <QQmlContext>
#include <QHash>
#include <QListView>

class CppModel :public QStandardItemModel{
  QHash<int, QByteArray> _roleNames;
  public:
  CppModel(QObject *p=0):QStandardItemModel(p)
  {
    _roleNames[Qt::DisplayRole] = "name";
    _roleNames[Qt::CheckStateRole] = "checked";
  }
  QHash<int, QByteArray> roleNames() const
  {
    return _roleNames;
  }
};

int main(int argc, char *argv[])
{
  QApplication app(argc, argv);

  CppModel m;

  QStandardItem *it = new QStandardItem();
  it->setCheckable(true);
  it->setData("S1",Qt::DisplayRole);
  m.appendRow(it);

  it = new QStandardItem();
  it->setCheckable(true);
  it->setData("S2",Qt::DisplayRole);
  m.appendRow(it);

  it = new QStandardItem();
  it->setCheckable(true);
  it->setData("S3",Qt::DisplayRole);
  m.appendRow(it);

  QListView *v1 = new QListView(0);
  v1->setModel(&m);
  v1->show();

  QListView *v2 = new QListView(0);
  v2->setModel(&m);
  v2->show();

  QQmlApplicationEngine engine;
  QQmlContext *ctxt = engine.rootContext();
  ctxt->setContextProperty("cppmodel", &m);
  engine.load(QUrl(QStringLiteral("qrc:/main.qml")));

  return app.exec();
}

main.qml:
import QtQuick 2.6
import QtQuick.Controls 1.5

ApplicationWindow {
    visible: true
    width: 640
    height: 480
    title: qsTr("Model Test")

    ListModel {
        // id :cppmodel // *(1)* If this line active, this QML model will shadow C++ model with same name and
        //                       QML views will be synchron.
        //                       However, C++ views won't be updated
        //                       If this line is disabled, Checking items in C++ models will update QML items
        //                       but QML views don't react on mouse-clicks. Obviouly, set method dowsn't work with C++ models

        ListElement { name: "S1"; checked:0; }
        ListElement { name: "S2"; checked:0; }
        ListElement { name: "S3"; checked:0; }
    }

    Component {
        id: myDelegate

        Rectangle {
            color: "green" //ListView.isCurrentItem ? "black" : "red"
            width: 200
            height: 50

            Rectangle {
                color: checked ? "red" : "blue"
                width: 20
                height: 20
                x: 10
                y: 10

                MouseArea {
                    anchors.fill: parent
                    onClicked: {
                        cppmodel.set(index, {"checked":checked?0:1} ) //*(2)* This works with QML models but not with C++
                    }
                }
            }

            Text{
                x:40
                y: 10
                text: name
            }

        }

    }

    ListView {
        id: lv1
        width:220
        height: 400
        x: 0
        clip: true
        model: cppmodel
        delegate: myDelegate
        focus: true

    }

    ListView {
        id: lv2
        width:220
        height: 400
        x: 250
        clip: true
        model: cppmodel
        delegate: myDelegate
        focus: true

    }
}

Edit: Updated code. Added description in comments

redpajama_set_name: RedPajamaStackExchange


Carlisle Carrier Corp. of Mechanicsburg, PA has donated free transportation services to its customers located in Pennsylvania to get food, tools, soap and pet food to the many agencies serving the World Trade Center and Pentagon relief efforts.
David L. Metzler, president and owner of Carlisle, a regional TL carrier, told Fleet Owner that several clients decided to donate the goods to the relief efforts, but did not have a way of getting the items where they are needed.
"This helps all of us at a time when we don't know what else we could be doing to help," Metzler said. "This is also something that is helping the drivers feel like they're more a part of the effort."
In addition to volunteering the carriage service, Metzler added that the company drivers involved are doing it on a volunteer basis.
"We have been honored to assist our customers, who have so generously donated truckloads of important supplies," Metzler said.
Since last Tuesday, Carlisle has transported 10 truckloads of supplies to agencies in Bronx, NY; Tarrytown, NY; Garden City Park, NY; East Hanover, NJ; Hillside, NJ; Bayonne, NJ; and Springfield, VA. Metzler said Carlisle will continue to offer its customers free transportation of goods to these agencies for as long as the need exists.
Metzler said his company will announce details of a corporate fund-raising project, named "Going a Mile for America," by the end of the week. He said the project is part of the company's continuing efforts to do what it can to help the people who are searching for survivors in the rubble and to assist the families that have lost loved ones.


text:
Glass interviews British jewellery designer Liv Luttrell
In FashionMain Features
THERE is this spoken link between art and fashion, where one can't exist without the other. A physical manifestation of that relationship is apparent in British designer Liv Luttrell's jewellery.
Inspired by architecture, art and the human form, her instinctive design approach has led her to create instantly recognisable shapes made to empower the wearer.
Focusing on hand-craftsmanship is a strong value Luttrell holds with her wearable sculptures, so upon an invite to her east London studio she walked me through her pieces and we spoke about how this all came about and her exciting new launch of silver rings.
Liv Luttrell
Was there a specific piece of jewellery, or memory of jewellery that struck a chord in you that led you down the path of becoming a designer?
I was always really obsessed with design. When I was at art school, I started making jewellery pieces, but I wasn't studying jewellery, I was studying graphic design. But, you go on these meandering conceptual brief-led journeys, and just a variety of mine turned into pieces of jewellery. Before that I had thought about studying geology. So, at that point I was like I want to go and focus on that more.
Though I think the V&A was probably the place that I first discovered, and got really obsessed, by jewellery. I always liked the older, more Byzantine pieces that are very heavy gold. I've got a brass ring from the V&A that I bought when I was about 14. I remember calling my mom being like "please can I buy this like replica" and she was really bemused by my taking to this quite abstract ring.
You spent time training at the bench of a goldsmith – what was the most valuable skill you learnt?
I think probably the most useful thing was learning about how things are made. Firstly, just understanding construction. So, when we speak about how they're going to make the piece, I can understand the different options.
Whereas I think it would be really frustrating if you didn't have an understanding of how they were going to construct the piece. And also finish. I think when you've done something yourself a lot, even if you wouldn't be able to finish to the standard that they can you can appraise to a different degree.
The Curved Forms ring and Paravent ear pendants
The Diamond Edge Twist hoop earrings and Twist ear pendants
What made you decide to launch your own label?
I always knew that I wanted to start my own business so it never really felt like a decision. I sort of launched straight after I had finished my goldsmithing. I made this emerald ring, and I had started designing it the year I was studying and made it after I left.
I just immediately launched and didn't ever question it. And looking back now I think it's kind of a mad thing to do when you are 22 or 23. I was not experienced in the world of business, but it just felt like the right thing and now I am where I am.
Your jewellery is never collectivised but rather stands alone. Can you tell me why you have decided to do this?
My focus has always been making stuff that's at the higher end from a quality perspective. And I suppose it's easier to do stuff in that you tend to sell more one of a kind pieces or they sell in a slightly different manner, you don't need to do a kind of continual, big launch of lots of pieces that look quite similar. You can do it in a slightly slower, more organic manner.
There's a thread that pulls all of my pieces together but I wouldn't ever describe the designs I'm doing as a collection because I feel like if I were designing a collection there'd be a temptation to kind of fill out pieces with perhaps weaker designs. I don't particularly want to be cornered by the idea that you've chosen a collection theme and then you have to stick with that.
Marquise Spear Tip ring and Diamond Edge Twist hoop earrings
Do you think that because you work so closely with your clients that you would like to give them something unique? Something that makes them keep coming back?
Yeah, definitely. I think a lot of my clients are repeat customers. And I get to know them really well and work with them over a long period. So it would be important as well that they have something different.
Working in bespoke – do you have a particular project that has been your favourite?
Not sure you're allowed to have favourites [laughs], but I think one of the most dramatic pieces that I loved working on was a pair of diamond and tsavorite garnet earrings.
They were made for a client who I do know really well and absolutely love which feeds into my love for the earrings – she wore them for her wedding day.
The Fara ring
The Vol ring
Your new project are rings, which you have created your own waxwork for. What made you decide to do this and can you explain the process?
Wax carving is really traditional ancient technique where you carve the shape out of wax and then essentially, there is a bit more to the process but what happens is the molten metal is poured in and then wax melts out and you end up with the shape.
It's called cire perdue. I have done quite a lot a bit over the years, but I've never really developed my own series of work in the kind of style that I'm doing now.
So over lockdown, I was doing a little wax carving and starting with this block and then considering different angles and just organically turning it into a shape.
How do you want people to feel when wearing your jewellery?
I think I want people to feel quite like powerful. A lot of the time I'm working with women who are shopping for themselves.
It's kind of powerful statement of independence, I guess. I want you to feel bold.
To find out more about Liv Luttrell here.
britishcire perduefashionjewelleryliv luttrellluxuryvictoria and albert museum
White Cube to hold Minoru Nomata's first solo exhibition
Annabel's celebrates Frieze London 2021 with presentation of previously unseen works by Damien Hirst
Audemars Piguet revisits the historical wandering hours design with new Code 11:59 watch


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All therse characteristics of cedar transform it into a great choice also for fine furniture. Teeth should be brushed wice or even more times daiily for at least two minutes and flossed onne or more times every day. Meanwhile our bodies was not sensitized to tthe bacterial and viruses that started tthe inflammation process.
Bill lives with his wife and three cats by a frozen lake in the Sangre de Sasquatch mountains of Minnesota.
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text:
Salvador Jiménez Flores
2015-2017 Artist in Residence
Instructor, Ceramics Program
Salvador Jiménez-Flores is an interdisciplinary artist born and raised is Jalisco, México. Since coming to the United States, Jiménez-Flores has contributed to the Midwest art scene by producing a mixture of socially conscious installation, public, and studio-based art. He has presented his work at the National Museum of Mexican Art, Grand Rapids Art Museum, Urban Institute of Contemporary Art, and Casa de la Cultura in Jalisco, México amongst others. He is currently Resident Teaching Artist at Urbano Project and instructor at both Wheelock College and Harvard Ceramics Program, Office of the Arts at Harvard University. Jiménez-Flores received his MFA from Kendall College of Art and Design in Drawing and his BAS from Robert Morris University in Chicago, IL. He was recently selected to be a 2017-2017 Boston Artist in Residence through Mayor Marty Walsh's office.
I am a nomadic artist who journeys through the Americas, creating rascuache art and high art, speaking Español, English and Spanglish. Occasionally, I feel I have a static sense of identity and sometimes I have an inventory of multiple identities. I fit in here and there but No soy ni de aquí ni de allá. I am one, in two worlds.
The move from a rural town in México to a major metropolis in the United States had a tremendous impact on my life. At first, art was merely a way of coping with the transition but later, due to my limited English, art became my tool for self-expression. In my work I document this journey of adapting to living in the United States, all while looking back at what I left behind in México.
The challenge of being bi-cultural and bilingual is that I live concurrently in two different worlds. I have learned to adapt to live in these two worlds, but adapting involves expanding and losing part of who I am, so I often find myself in the middle of these two territories. Everywhere I live, I am a foreigner.
The content of my work is a fusion of myth, history, religion, politics, and popular culture and is driven by my life experiences. I take an interdisciplinary approach with my work by choosing the media that will best fit the idea I am trying to convey. As an artist I feel I have the responsibility to address the issues that affect my community and to create awareness and propose actions through my art.
Person Role


text:
THE DOO WOP PROJECT
April 22, 8 pm.
$37 / $42
OSK@OnStageAtKin…
The Stars of Jersey Boys, Motown: The Musical, and A Bronx Tale!
APR. 22, 2023 | 8:00 PM | $37/$42
Watch a video HERE.
From the classic sound of five guys singing harmonies on a street corner to the biggest hits on the radio today, the Doo Wop Project's epic show will take you on a journey through the tunes of the Crests, Belmonts, and Flamingos, the vocal artistry of Smokey Robinson, The Temptations, and The Four Seasons and brings it home with DooWopified versions of modern hits from Jason Mraz, Maroon 5, and Sam Smith.
Featuring stars from the Broadway hits Jersey Boys, Motown: The Musical, and A Bronx Tale, The Doo Wop Project brings unparalleled authenticity of sound and vocal excellence to recreate—and in some cases entirely reimagine—the greatest music in American pop and rock history.
"Oh what a show…Spectacular!"
– DC Theater Arts
Meet The Doo Wop Project After the Show!
Review our Covid Policies HERE.
On Stage at Kingsborough
2001 Oriental Boulevard
Carols for Peace


With Sage's Cafe, Ian & Kelsey Brandt have created one of Salt Lake City's most unique and endearing dining spaces—vegetarian or otherwise. Located since late 2013 in the iconic former Jade Cafe building, Sage's specialty is vegetarian, organic cuisine. And with the new location came The Jade Room, a cozy back room that offers a full bar, craft cocktails, wine, local brews, seasonal small plates and a stylish mid-century atmosphere. The restaurant is open for breakfast, lunch and dinner every day, with late-night weekend dining and an extended brunch menu on Saturday and Sunday.


text:
Author:Arctic Journal KOENIG, S.L. DUNBAR, Moira HATTERSLEY-SMITH, Geoffrey
Arctic: Journal of the Arctic Institute of North America, Volume 05, No. 2,July 1952
By: Arctic Journal KOENIG, S.L. DUNBAR, Moira HATTERSLEY-SMITH, Geoffrey
Publisher: Arctic Institute of North America, Montreal, 1952,:
(Arctic Journal). Arctic: Journal of the Arctic Institute of North America,Volume 5, No. 2, July 1952. Montreal: Arctic Institute of North America, 1 952. Pp [65]-132. On the Ice Islands: Articles: L.S. Koenig's "Discovery ofthe Ice Islands on U.S.A.F. Flights over the Arctic Ocean" (pp.68-75); K.R . Greenaway's "Additional Information from Flights and Air Photographs in the Canadian Arctic" (pp.75-82); Moira Dunbar's "Historical References to Ice Islands" (pp.83-95); Geoffrey Hattersley-Smith's "Comments on the Originsof the Ice Islands" (pp.95-103). Also V... View more info


Is it possible to connect R/3 4.6C with BI 7.0?
Can we connect R/3 4.6C with BI 7.0?
Yes, R/3 4.6C can be connected to BI 7.0 provided R/3 contains the right plug-in version. Some extractors might be missing though. Please refer the note number 153967 for plug-in information.
What preparation should IT do before implementing SAP BW on HANA?
Do you need an SAP data mart, or an SAP data warehouse?
What is SAP BW on HANA and how does it work?
What are the differences, similarities between SAP BWA and HANA?
SAP data warehousing: What are the options?
Ask the expert: Does SAP HANA replace BW?
Should we install SAP BW on the same server running SAP R/3 4.7?


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ESA's Rosetta mission today celebrates one year at Comet 67P/Churyumov–Gerasimenko, with its closest approach to the Sun now just one week away.
It's been a long but exciting journey for Rosetta since its launch in 2004, featuring Earth, Mars and two asteroid flybys before arriving at its ultimate destination on 6 August 2014. Over the following months, the mission became the first ever to orbit a comet and the first to soft land a probe – Philae – on its surface.
The mission teams have had to overcome many challenges in learning to fly in an unpredictable and sometimes inhospitable environment, and the spacecraft has returned a wealth of outstanding scientific data from this intriguing comet, spanning its interior, the dramatic surface and the surrounding cloud of dust, gas and plasma.
"This mission is about scientific discovery and every day there is something new to wonder at and try to understand," says Nicolas Altobelli, acting Rosetta project scientist.
Highlights thus far have included the discovery that the comet's water vapour has a different 'flavour' to Earth's oceans, fuelling the debate on the possible role of comets and asteroids in delivering water to our planet in its early history.
The first detection of molecular nitrogen in a comet provided important clues about the temperature environment in which the comet was 'born'. Molecular nitrogen was common when the Solar System was forming, but required very low temperatures to become trapped in ice, so Rosetta's measurements support the theory that comets originate from the cold and distant Kuiper Belt.
Data collected by Rosetta and Philae during the lander's descent to the surface have allowed scientists to deduce that the comet's nucleus is non-magnetised, at least on large scales.
Although magnetic fields are thought to have played an important function in moving small, magnetised dust grains around in the infant Solar System, the Rosetta and Philae measurements show that they did not continue to play a significant role once the particles had agglomerated to form larger building blocks metres and tens of metres across.
These are just a few of the myriad examples of the scientific discoveries being made by Rosetta, and most of them come from data taken in the early part of the comet-phase activities.
Now the comet and spacecraft are a week from perihelion, the point on its 6.5-year orbit that takes it closest to the Sun. On 13 August, they will be 186 million kilometres from the Sun, about a third of the distance at rendezvous last August.
"The period around perihelion is scientifically very important, as the heat from the Sun and the resulting outflow of gas and dust build to a maximum, providing us with important insights into this key time in the overall life cycle of the comet," says Nicolas.
Rosetta has been watching its activity increase over the last months, as its frozen ices warm, turn to gas, and jet into space, dragging the comet's dust along with it. Together, the gas and dust have created a fuzzy atmosphere, or coma, around the nucleus and a long tail stretching over 120 000 km into space that can only be seen from afar.
Rosetta has a unique ringside seat for studying where and how this activity arises on the surface of the comet. Earlier in 2015, the spacecraft approached to within just 6 km to carry out its measurements, but as the level of gas and dust has increased over the last few months, Rosetta has been studying the comet from safer distances, and is currently operating 250–300 km away.
"As we've been approaching perihelion, near-comet operations have proven to be especially challenging: the increasing level of cometary dust confuses Rosetta's startrackers and without them working properly Rosetta can't position itself in space," says Rosetta Spacecraft Operations Manager, Sylvain Lodiot.
One important aspect of Rosetta's long-term study will be to watch how the activity subsides again in the months following perihelion. The hope is that Rosetta will eventually be able to get closer to the nucleus again and see how the surface changed during its close encounter with the Sun.
"One year after arriving, Rosetta has accumulated a number of impressive successes, from the landing of Philae, to the many scientific discoveries that are being made and published," says Patrick Martin, Rosetta Mission Manager.
A Google+ Hangout celebrating a year at the comet and perihelion is scheduled for 13:00–15:00 GMT (15:00–17:00 CEST) on 13 August 2015. Watch here.
Browse our new "Year at a comet" image gallery here and download the 12 original images here (zip file).
Learn more about perihelion in our FAQ here.
A nice summary of the results so far.
However, I'm still bemused that anyone could make any conclusion about whether Earth's water came from comets/asteroids/elsewhere from the scant evidence we have so far.
I can't believe anybody is suggesting it only came from comets (or only from asteroids, or only from elsewhere) and if you accept multiple sources then you have to accept that the ratio of light/heavy water we find on Earth is just a very mature blend of whatever has been drawn into the Earth's gravity well over billions of years.
And whats going on with Philae? You've been awfully quiet about it, were the recent 'signals' just some kind of PR stunt to raise interest right as the mission extension funding was being discussed?
As the last status report explains (http://blogs.esa.int/rosetta/2015/07/20/rosetta-and-philae-status-update/) the orbiter is currently alternating lander listening attempts with scientific observations, so there will be periods now where a signal is not expected to be received. We will report on Philae status if/when there is any new information available!
Seeing blob surfaces hanging down.
_Antenna is actually one of Philae's supports. Could be a conductive point when unfrozen?
_Really relevant the total absence of dust deposits, on a terrestrial sense, at Abydos. Trailed dust is quickly trapped back by active surface or lost with gas outflow.
Fine layering at the bottom of Abydos niche [if rotated clockwise] remembers those [2 order or magnitude bigger] of Feb14, with the shadow of ROSETTA flying over them.
Aside from yesterday's release (http://www.esa.int/Our_Activities/Space_Science/Rosetta/Comet_s_firework_display_ahead_of_perihelion) then we're still hoping for some recent images from the last week/days to be available to release tomorrow, for perihelion.


We expect that any genes with at least one read will have at least one molecule. Conversely, any gene with zero reads should have zero molecules. There are a small number of instances where these relationships do not hold. This anaysis tracks down this bug in the sequence processsing pipeline.
This problem affects 1347 out of the 16940 total genes (7.95%). For these problem genes, the median number of affected samples is 1. However, there is a long tail, with the max number of sample affected being 206.
For gene ENSG00000187583, the sample NA19098.r1.G11 was assigned 22 reads but 0 molecules. What happened?
So for two of the per lane reads files, they get reduced to one molecule each. This seems reasonable. But one gets reduced to zero! And the combined file also contains zero. What is happening to these reads? Searching the featureCounts assignments (-R flag).
First investigating the lane that was reduced from 6 reads to 1 molecule.
As expected, there are 6 reads. Also they all clearly have the same UMI sequence, so it makes sense they are reduced to one molecule.
Wonderful. Only one of the reads from that lane is assigned as a molecule.
Next the lane that was reduced from 12 reads to 1 molecule.
Similarly, all reads in this lane have the same UMI sequence. Furthermore, it is the same UMI as in the other lane, so these are likely are originating from the same original molecule.
Now for the problem lane. There were 4 reads, but zero molecules.
Once again the same UMI sequence!
# assumes something has failed and stops execution.
But no molecules! What could have possibly gone wrong only for this lane!
So where were these reads lost? Here are the problem reads.
Was one of these 4 sequences passed to featureCounts, but not assigned for some reason?
No, that is not the reason. I expected to see 1 of the 4 reads, but featureCounts does not report having seen any of these reads.
Are any of these 4 reads in the molecules bam file, i.e. "rmdup"? These are the output files from the step to remove duplicate reads (i.e. convert reads to molecules).
So it is clear that featureCounts is not the problem. The input molecule bam file did not contain them.
Next possibility is that it was lost in the reads to molecule conversion step using UMI-tools dedup_umi.py. The input files for this step are in bam-processed.
They are erased during the remove duplicate step!
Now I want to confirm that all these reads from the 3 lanes are in the combined file. There should be 22 (6 + 4 + 12).
That is more than I expected. How many have the exact same UMI sequence?
So there are actually more than 22 reads that have the UMI AGAAGGGG and start at chr1:911014, however, only 22 of the 40 get assigned to gene ENSG00000187583.
Could this be a length issue? Since some reads are longer than others due to the quality trimming, perhaps the longer reads intersect an exon from another gene. There is variation in read length.
How many genes are in this locus?
I searched one of the 92M sequences with BLAT, and it does overlap two different Ensembl genes (red). The bottom three Ensembl transcripts (ex) are for the protein_coding gene C1orf170, or ENSG00000187642, and is on the - strand. The transcript on the top is the protein_coding gene PLEKHN1, or ENSG00000187583, and it is on the + strand.
Next I searched for the smallest fragment, which is 43 bp long. 43M means 43 Match (post).
It is in the intron of ENSG00000187642 (C1orf170), but it overlaps ENSG00000187583 (PLEKHN1). Maybe it is a strand issue.
These reads are all on the + strand (directions).
Because the reads map to the + strand, they can't be assigned to ENSG00000187642 (C1orf170). Similarly RefSeq has an extra gene annotation PERM1, but it is also on the - strand.
What is going on with these reads? Maybe a soft clipped read will be informative. Using the 36M56S sequence.
Again, this overlaps nothing. It is also strange that the last 56 bp do not map to this locus at all!
Looking at all the sequences that with this UMI and start position.
What a mess! So here is my current interpretation, which is all educated guesses. This molecule arises from some unannotated transcript. This sort of thing happens since most of the genome is transcribed at some low level. The varying in length is due to the fragmentation during the sonication step. The soft clipped reads are due to sequencing of the adapter. Overall there should just be one molecule here, and it shouldn't map to any gene. featureCounts assigns the longer fragments to ENSG00000187583 (PLEKHN1) because their 3' end overlaps it. But this makes no sense since the read arose from nowhere. I can fix this in featureCounts using the following option to only map the 5' end of the sequence.
So my current guess is that of those 40 sequences, the one that is kept is one of the shorter ones. Since these do not map to anything, the molecules report zero while the reads report sequences.
But no! There is a 92M sequence in the bam-rmdup-umi file!!!!
Why wasn't it assigned to ENSG00000187583 (PLEKHN1) as expected?
For some reason, featureCounts has no record of having processed this read. And this isn't the only read that is not accounted for.
This is super confusing. For the problem lane, the 4 reads were lost in the remove duplicate step. But for the combined file, the problem is at the featureCounts step.
I really don't know what is happening here, and I want this molecule removed from the analysis anyways. I'm going to re-run the gene counting with featureCounts uisng the flag --read2pos 5 to remove this problem gene and any others, and then assess the extent of the problem.


Our company is grounded in family values and committed to employee satisfaction in the workplace. We encourage employees to pursue work/life balance and understand that employees need time off to refresh. We look forward to developing new employee programs to assist our employees in pursuing a balanced life.
We have a competitive benefits package which includes medical, dental and vision coverage along with some other valuable services and benefits. Our employees are encouraged to use our great employee discount program on all of our products.
We are deeply rooted in our community and arrange for significant donations to many community events and programs. We also encourage our employees to get involve in volunteer organizations and help our employees with donations so they can support the organizations they care about.
We are dedicated to continuous learning and encourage our employees to pursue further education both inside and outside of the company. We invest in the personal growth and development of our employees so they can reach their full potential at C.R. Plastic Products.
Our company has seen amazing growth over the years and with that growth opens opportunity for advancement within the company. We have many employees who started out in entry level positions and have worked their way into leadership roles within the company. Check out some of our employee testimonials below for inspiration!
"If you are looking for a new opportunity in a rapidly growing company, I highly recommend C.R Plastics as a fresh start. C.R Plastic Products isn't just a green company, it's a great one."
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Position Summary: To create product made from recycled plastic within set quality standards.
Fastens parts together with screws using power tools and hand tools.
Places parts in jig and force parts together for assembly.
Fastens sections together and attaches brackets.
Reads work orders to determine materials required and time required to complete work order.
5S and preventative maintenance as required.
Places parts on router table and routers edges to produce a smooth finish.
Removes nubs from parts using band saw and discards into scrap bin.
Produce assembled products per set standards.
Experience using power and hand tools (saws, routers, drills).
Work Conditions and Physical Capabilities: Repetitive tasks, handling heavy loads, physically demanding, manual dexterity, attention to detail, hand-eye co-ordination, combination of pushing, pulling, bending, lifting, twisting .
Essential Skills: Reading text, document use, numeracy, writing, oral communication, working with others, problem solving, decision making, critical thinking, job task planning and organizing, significant use of memory, finding information, computer use, continuous learning.


text:
Traditional Spanish Sausage
The weight of whole package is 1 pound
Each package contains 5 sausages
Approximately between 4 and 5 servings
Manufacturer: Despaña Brand
Produced in USA
If you are fond of Spanish cuisine, Spanish Traditional Sausage is perfect for an elegant dish of sausages, ready to cut and serve, with exquisite aroma and intense flavor that will delight the most discerning palates.
Spanish Traditional Sausage is made with chopped pork meat and fat, seasoned with paprika and garlic, all stuffed into natural casings. The red color so characteristic of sausage, and its smoky flavor is what sets apart the Spanish sausage from sausages made elsewhere. It is presented in packs of 5 sausages. It is special for snacks or for any occasion. Traditionally cured, it is a natural and quality product with high caloric value.
The Spanish Traditional Sausage has a primitive origin as it is closely linked to the killing of the pig, one of the dining, festive, cultural and even religious traditions in most rural societies, through which families stocked up on meat for the rest of the year. The Spanish sausage is red thanks to paprika, an ingredient that did not reach Spain until the sixteenth century, from America. Before the discovery, the sausages were whitish or black if they had blood.
The main ingredients of Spanish Traditional Sausage are pork meat and bacon, paprika, garlic and salt. It really is not a single spice what gives flavor to Spanish Traditional Sausage but rather a balance and harmony of each of the scents that gives a "unique scent", which is perceived as the sum of garlic, pepper, cumin, bay leaf, thyme, onion, paprika and oregano.
Ingredients: pork, salt, pepper, garlic and oregano, additives (prosodic citrate, Potassium Nitrate, Sodium Nitrate).
Note: USDA Inspected
Conservation tips for Spanish Traditional Sausage
Store at room temperature. Do not remove the skin of the whole piece of sausage, only what you are eating. Store in a dark place,
cool, dry place, a cupboard or pantry is ideal. All sausages undergo transformations in their color and flavor if exposed to light for periods of time. Cover the cut with a plastic film or wrap with a cotton cloth. And especially do not hang off the kitchen, keep it in a horizontal position in the pantry or the place you choose, as temperature changes deteriorate the taste and texture.
If you want to know more about this product, do not hesitate to contact the Master "Jamonero" Francisco Carrasco: Phone: (786) 237-9055, Email: info@ham-cheese-wine.com
More about Spanish Traditional Sausage
Spanish Traditional Sausage is a very practical and affordable product for daily use since it can be used in pasta dishes, such as macaroni, spaghetti and pizza,
sliced into the bread, in soups like lentil and bean stews, in vegetable dishes, rice, potatoes, stir fry, and is ideal as a side to eggs, fried or scrambled, and omelets. The smoky flavor of Spanish Traditional Sausage has a distinctive taste that sets it apart from the rest of the sausages in the world.
The process of making Spanish Traditional Sausage consists of several phases: the mincing of meat and bacon, mixing and kneading the meat with spices, rest and mashing the dough, and stuffing into the pig casing, and finally curing, when sausages are tied and exposed to air at room temperature.


text:
Q: cocoa mac nstextfield not editable with array controller object I am working on learning cocoa on the Mac.  I have a little app that has a text field, which is bound to an array controller (which is in turn bound to a core data managed object).
The idea is hat when the window loads, the details from the core data entity will be shown.  At this point however, there is no data in the core data entity for this NSWindow.
There are several labels and text fields and an NSImageView, all defined through Interface Builder.
When the NSWindow is displayed, all of the objects are shown.  However, only NSImageView is selectable.  None of the TextFields can be selected and none can be edited. I have read through numerous posts in SO and other places, but I cannot figure out why the textfield is not selectable.  It may be editable, but I don't know yet since i can't select it.
If I create a new project and only put the textfield on it, i can select it and edit it.  Since I have only been experimenting with cocoa and Xcode since Xcode 5 came out, I am lost on where to find the solution.
thanks

A: It sounds like you haven't inserted (or selected) a row in your array controller, so you're trying to edit the values in nothing.


text:
Eswatini National AIDS Programme
Programme Areas
HIV Testing Services
Male Circumcision/ VMMC
STIs Management
Condom Promotion
Post-Exposure Prophylaxis
Behaviour Change Communication
Treatment,Care & Support
Pre-ART and ART Services
Paediatric ART
TB/HIV
Psychological Care and Support
Community HIV Response
Technical Working Groups (TWGs)
National HIV Semi- Annual Review (NaSHAR)
Regional HIV Semi- Annual Review (ReSHAR)
The government of Swaziland remains committed to funding HIV response service, commodities and suppliers. Despite the economic challenges of recent years, this has not derailed and has a result, the government has maintained a budget allocation for HIV services in particular the budget allocation of ARV drugs. UN agencies and PEPFAR funded partners have also provided technical and financial support to HIV program service intervention including capacity building, staff compliment and other resources.
A Partnership Framework between the Governments of the Kingdom of Swaziland (GKoS) and the United States was signed in June 2009, This agreement focuses on reducing new HIV infections, improving and decentralizing the quality of treatment and care, rapidly expanding male circumcision services, mitigating the impacts of HIV/AIDS on vulnerable children and their families, and strengthening human and institutional capacity.The PEPFAR program in Swaziland supports the Government of the Kingdom of Swaziland's (GOKS) intensified national response to the HIV epidemic through evidence-based prevention, care and treatment programming. USG efforts will continue to support expansion of CT, and to link those with positive tests to high quality care and treatment services.
PEPFAR Swaziland leverages Swaziland's National Response by providing resources, technical assistance, and capacity-building to ensure that interventions complement and build on existing programs and provide high quality HIV/AIDS related services while strengthening capacity of organizations and quality of programs. It works with the government of Swaziland and facilitates implementation of strategic projects through community-based organizations, faith-based and non-governmental organizations as well as the business sector. Furthermore, PEPFAR also coordinates and collaborates with other donors and other development programs to strengthen linkages and ensure a holistic and complementary approach to tackling HIV/AIDS in Swaziland.
CDC began supporting Swaziland in 2004 and opened its HIV/AIDS office there in 2007. CDC works closely with the Ministry of Health (MOH), the World Health Organization, and other partners in building local health systems for a sustained response to the epidemic. CDC supports the MOH and implementing partners in building the capacity to improve the coverage and quality of HIV and tuberculosis care and treatment services. This includes the provision of clinical and community-based services, mentoring, laboratory support, provider- and client-initiated HIV testing and counseling services, prevention of mother-to-child transmission (PMTCT), and blood safety programming. In FY15, support to clinical services will be provided in an integrated manner at a regional level, with an increased focus on quality management. The goal is to combine these efforts with the United States Agency for International Development-sponsored voluntary medical male circumcision (VMMC) activities to create an effective and focused combination prevention program..
University Research Co., LL
University Research Co., LLC (URC) is a global professional organization dedicated to improving the quality of health care, social services, and health education worldwide. URC offers a range of technical assistant on strengthening health. URC is working with the Ministry of Health in Swaziland to expand access to and the use of provider-initiated HIV testing and counseling. Implementation of activities through USAID's Health Care Improvement Project (HCI) followed thereafter. Since then, URC has provided technical support to strengthen Swaziland's HIV and tuberculosis lab services. Our current activities in Swaziland include HIV/AIDS and Tuberculosis Laboratory Support, two major USAID-funded projects, the Applying Science to Strengthen and Improve Systems Project (ASSIST) in 2012 and more recently TASC 4 Africa – Population, Health and Nutrition IDIQ.
NERCHA
NERCHA coordinates and facilitates the National Multisectoral HIV and AIDS response and oversees the implementation of the national strategic plans and frameworks.
An HIV free generation and AIDS free population.
Improving the health of the people of Swaziland through an effectively coordinated health sector response to HIV.
Our Stakeholders:
Swaziland Ministry of Health
U.S. Embassy in Swaziland
University Research Co., LLC
Health Management Information System
National HIV & AIDS Information & Training Centre
Swaziland Health Research
Ending AIDS by 2022
IT START WITH YOU
Don't hesitate our officers are there for you: 2404 7727
This website is supported by "The U.S President's Emergency Plan for AIDS Relief" PEPFAR under Cooperative Agreement Number, 6NU2GGH001399 03, funded through the Centers for Disease Control and Prevention (CDC), and managed by University Research Co., LCC. Its contents are solely the responsibility of the authors and do not necessarily represent the official views of the Centers of Disease Control and Prevention or the Department of Health and Human Services.
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text:
By Victoria Prieskop
International Mobile Subscriber Identity catchers — also known as cell-site catchers or Stingrays — simulate cell phone towers, pulling in all cellphone use within a certain distance.
ALBUQUERQUE — The ACLU sued Albuquerque for information on how its police use Stingray cellphone spying technology, and whether they use it for immigration enforcement, but Albuquerque claims all such records are confidential — including whether they use Stingrays at all.
International Mobile Subscriber Identity catchers — also known as cell-site catchers or Stingrays — simulate cell phone towers, pulling in all cellphone use within a certain distance. They can scan an area near targets of investigations for location and usage information, and in some cases can listen to conversations and track texts on phones in range, including those which have nothing to do with the investigation.
The ACLU of New Mexico submitted an Inspection of Public Records Act (IPRA) request on May 22, seeking records on whether Albuquerque police own any Stingray devices; what policies, if any, they have on handling data gathered by the trackers; whether the devices are used for immigration investigations; and whether police must get a warrant before using them.
The city replied on June 5 that all this information was confidential, under the law enforcement exception of the IPRA, which included "law enforcement records that reveal confidential sources, methods, information or individuals accused but not charged with a crime. Law enforcement records include evidence in any form received or compiled in connection with any criminal investigation or prosecution by any law enforcement or prosecuting agency, including inactive matters or closed investigations."
But the ACLU says those exceptions have nothing to do with the information it requested.
Its public records request to the city is appended to its short July 6 lawsuit in Bernalillo County Court.
Related: Government Agencies Using Stingray To Hunt Down Undocumented Immigrants
ACLU of New Mexico executive director Peter Simonson said in a statement: "The City of Albuquerque has a track record of using the law enforcement exception as a fig leaf when they don't want to share public records.
"If Albuquerque is going to have the transparent and accountable police department we deserve, the city needs to stop stonewalling and disclose information about how it collects and uses cell phone data.
"These devices are incredibly invasive and the government isn't being transparent about how they are being used. If APD is using Stingrays to snoop into people's private information, the public has a right to know. We also need to ensure that protections are in place to prevent these powerful tools from being misused or abused."
The Albuquerque Police Department has been under federal investigation for years, and court-appointed monitoring, for excessive force and police killings.
Police spokeswoman Celina Espinoza told the Albuquerque Journal that the department "follows legal standards with the use of any technology" but would not comment further.
Whether Fourth Amendment protections from unreasonable search and seizure apply to digital information may be addressed this fall, when the U.S. Supreme Court has hears Timothy I. Carpenter v. United States, a question of whether police need a warrant to collect cellphone records relating to location.
Inspection of Public Records Act
ourth Amendment
UPS Joins Media Chorus In Thanking Police For Murder of Frank Ordonez
Bolivia's New Right-Wing Gov't Targets Foreigners With "Anti-Terror" Death Squads
Trump Brushes Israeli Dragnet Surveillance of D.C. Under the Rug


text:
Q: Flutter- Gridview inside listview issue I want to show Carousel slider and listview inside gridview and want to scroll complete page, I am able to scroll parent listview but when I go down can't able to scroll.
Code:
Widget build(BuildContext context) {
return Scaffold(
  appBar: AppBar(
    title: Text("Home"),
    centerTitle: true,
  ),
  body: ListView(
    shrinkWrap: true,
    children: <Widget>[
      Column(
        children: <Widget>[
          new SizedBox(height: 20.0),
          Padding(
            padding: const EdgeInsets.symmetric(vertical: 10.0),
            child: CarouselSlider(
              options: CarouselOptions(height: 230.0),
              items: [1, 2, 3, 4, 5].map((i) {
                return Builder(
                  builder: (BuildContext context) {
                    return Container(
                      width: MediaQuery.of(context).size.width,
                      margin: EdgeInsets.symmetric(horizontal: 5.0),
                      child: Card(
                        elevation: 2.0,
                        child: Image(
                          image:
                              AssetImage('assets/images/onboarding1.png'),
                        ),
                      ),
                    );
                  },
                );
              }).toList(),
            ),
          ),
          new SizedBox(height: 20.0),
          new ListView.builder(
            shrinkWrap: true,
            itemCount: 5,
            itemBuilder: (context, index) {
              return new Column(
                children: <Widget>[
                  new Container(
                    height: 50.0,
                    color: Colors.green,
                    child: new Row(
                      mainAxisAlignment: MainAxisAlignment.center,
                      children: <Widget>[
                        new Icon(Icons.format_list_numbered,
                            color: Colors.white),
                        new Padding(
                            padding: const EdgeInsets.only(right: 5.0)),
                        new Text(index.toString(),
                            style: new TextStyle(
                                fontSize: 20.0, color: Colors.white)),
                      ],
                    ),
                  ),
                  Container(
                    child: GridView.count(
                      crossAxisCount: 3,
                      shrinkWrap: true,
                      scrollDirection: Axis.vertical,
                      physics: NeverScrollableScrollPhysics(),
                      childAspectRatio: 1.2,
                      children: List.generate(
                        8,
                        (index) {
                          return Container(
                            child: Card(
                              color: Colors.blue,
                            ),
                          );
                        },
                      ),
                    ),
                  ),
                  new SizedBox(height: 20.0),
                ],
              );
            },
          ),
        ],
      ),
    ],
  ),
);
}

A: The best thing to use for your case is Slivers, it will allow you to scroll through both the ListView and GridView together smoothly.
An example is as follows:
class MyHomePage extends StatelessWidget {
  @override
  Widget build(BuildContext context) {
    return Scaffold(
      appBar: AppBar(
        title: Text("Home"),
        centerTitle: true,
      ),
      body: CustomScrollView(
        slivers: [
          SliverToBoxAdapter(
            child: Padding(
              padding: const EdgeInsets.symmetric(vertical: 10.0),
              child: CarouselSlider(
                options: CarouselOptions(height: 230.0),
                items: [1, 2, 3, 4, 5].map((i) {
                  return Builder(
                    builder: (BuildContext context) {
                      return Container(
                        width: MediaQuery.of(context).size.width,
                        margin: EdgeInsets.symmetric(horizontal: 5.0),
                        child: Card(
                          elevation: 2.0,
                          child: Text('hello'),
                        ),
                      );
                    },
                  );
                }).toList(),
              ),
            ),
          ),
          SliverToBoxAdapter(
            child: SizedBox(height: 20.0),
          ),
          SliverList(
            delegate: SliverChildBuilderDelegate((context, index) {
              return new Column(
                children: <Widget>[
                  new Container(
                    height: 50.0,
                    color: Colors.green,
                    child: new Row(
                      mainAxisAlignment: MainAxisAlignment.center,
                      children: <Widget>[
                        new Icon(Icons.format_list_numbered,
                            color: Colors.white),
                        new Padding(padding: const EdgeInsets.only(right: 5.0)),
                        new Text(index.toString(),
                            style: new TextStyle(
                                fontSize: 20.0, color: Colors.white)),
                      ],
                    ),
                  ),
                  Container(
                    child: GridView.count(
                      crossAxisCount: 3,
                      shrinkWrap: true,
                      scrollDirection: Axis.vertical,
                      physics: NeverScrollableScrollPhysics(),
                      childAspectRatio: 1.2,
                      children: List.generate(
                        8,
                        (index) {
                          return Container(
                            child: Card(
                              color: Colors.blue,
                            ),
                          );
                        },
                      ),
                    ),
                  ),
                  new SizedBox(height: 20.0),
                ],
              );
            }, childCount: 5),
          )
        ],
      ),
    );
  }
}

A: Add physics: PageScrollPhysics(), for both ListView.builder() & GridView.count()
Code:
ListView(
      shrinkWrap: true,
      children: <Widget>[
        Column(
          children: <Widget>[
            new SizedBox(height: 20.0),
            Padding(
              padding: const EdgeInsets.symmetric(vertical: 10.0),
              child: CarouselSlider(
                options: CarouselOptions(height: 230.0),
                items: [1, 2, 3, 4, 5].map((i) {
                  return Builder(
                    builder: (BuildContext context) {
                      return Container(
                        width: MediaQuery.of(context).size.width,
                        margin: EdgeInsets.symmetric(horizontal: 5.0),
                        child: Card(
                          elevation: 2.0,
                          child: Image(
                            image: AssetImage('assets/images/onboarding1.png'),
                          ),
                        ),
                      );
                    },
                  );
                }).toList(),
              ),
            ),
            new SizedBox(height: 20.0),
            new ListView.builder(
              shrinkWrap: true,
              itemCount: 5,
              physics: PageScrollPhysics(),
              itemBuilder: (context, index) {
                return new Column(
                  children: <Widget>[
                    new Container(
                      height: 50.0,
                      color: Colors.green,
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                          new Text(index.toString(),
                              style: new TextStyle(
                                  fontSize: 20.0, color: Colors.white)),
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                                color: Colors.blue,
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text:
Tag Archives: Wizrds of Waverly Place
Born To Race Fast Track Keeps Pace With Universal's Fast And The Furious Franchise
Posted on September 11, 2014 by philspicks
One part The Fast and the Furious, one part Need for Speed and one part Top Gun, the second installment of Anchor Bay Entertainment's Born to Race franchise is a movie the surprisingly enough holds its own against its bigger-named counterparts. There's no getting around the fact that the franchise, which started with Born to Race back in 2011, is not the first of its kind. Universal beat Anchor Bay to that punch with its massively popular Fast and Furious franchise. That aside, there is still plenty to enjoy in this latest installment in the Born to Race franchise. The central point of the movie's success is its script (I.E. its writing). Unlike so many other movies backed by major studios out there, the script for this movie rips off neither its predecessor nor its bigger-named brethren. Another reason that this movie works as well as it does is its pacing. The movie moves fast. But it doesn't move so fast as to leave viewers struggling to keep up with the story. And last but not least to consider is the movie's casting. The movie's heads wiped the slate clean with this movie, casting a while new list of actors to fill its lead roles. But those actors still get the job done well enough to keep the movie believable. These three factors together make Born to Race: Fast Track a movie that despite being an independent release, is a movie that any fan of its genre should see at least once.
The central point of success in Born to Race: Fast Track is its script (I.E. its writing). There's no getting around the fact that it is not the first movie of its kind within the race-based action subgenre. That aside, it actually holds its own surprisingly well against Need for Speed and Universal Studios' Fast & Furious franchise. Unlike so many bigger-named movies out there across the genres, Born to Race: Fast Track doesn't attempt to rip itself off. Nor does it try to be just another of the aforementioned bigger-named movies in its genre. The only movie that one could even begin to say it does copy is Tom Cruise's hit 1986 fighter jet flick Top Gun. It goes so far as to put lead actor Brett Davern in a pair of aviator sunglasses alongside co-star Beau Mirchoff late in the movie, in a scene that almost directly mirrors one well-known scene from Top Gun. Even with that blatant lifting, it doesn't take away from the movie's overall enjoyment. As a matter of fact, one could even go so far as to argue that paying such homage to such a classic film without any sense of hamming it up only gives this movie even more credibility. It would have been so easy for that moment to go overboard. But it didn't. That combined with the fact that the movie's writers opted to develop a story that didn't blatantly rip off the Fast & Furious movies makes the movie's script all the more enjoyable.
The script behind Born to Race's latest installment is the central point of the movie's overall enjoyment. While it obviously does bear quite the semblance to Top Gun in terms of its plot, it doesn't go so far as to try and be just another Fast & Furious or Need for Speed. It does at least try to be its own story to a point. Adding to the movie's enjoyment is its pacing. The writing team behind the movie wastes no time setting up the movie's plot. And once the plot is established, the writers keep the story moving. They do so without missing a beat, too. Most impressive of all is that as fast as the story progresses, it doesn't move so fast as to leave viewers in its own proverbial dust (bad pun fully intended), wondering what they experienced by the end of the movie's roughly ninety-minute run time. It switches gears at all of the right points and never finds itself idling, either. And yes, both of those bad puns were fully intended, too. The end result of that smart pacing is a story that movies fast, but not as fast as the cars that take center stage throughout the movie. Alongside the movie's solid script, the pacing helps to make Born to Race: Fast Track that much more enjoyable for any fan of all of the racing movies out there.
The pacing of Born to Race: Fast Track's story and the story itself work together to make the movie one that fans of fast cars will enjoy even with just one watch. Both elements are important to the movie's overall success and enjoyment. There is still one more factor to consider in the movie's enjoyment. That factor is the movie's casting. The production's heads wiped the slate clean with this second installment of the franchise. None of the actors from the franchise's first movie returned for this installment. The reason for this happening is anyone's guess. It could have been the movie's heads. It could have also been that the cast didn't want to return for a second movie or simply couldn't due to other commitments. Regardless, the cast tapped for this movie does its own part to make the movie work. The new cast members are all quite young. And most of the cast members are quite well-known in their own right, too. Lead actor Brett Davern is best known for his time on MTV's hit series Awkward alongside co-star Beau Mirchoff. He also has dramatic experience, having acted in bit parts in CSI: Miami, In Plain Sight, and Cold Case. Mirchoff has also filled roles on CSI: Miami and CBS' other hit crime drama CSI: Crime Scene Investigation. Younger viewers might also recognize him from his work on Disney's Wizards of Waverly Place TV movie The Wizards Return: Alex vs. Alex. The movie's other cast members have their own extensive resumes, too. That collective experience shows through quite well here. They are actually quite believable in their roles. That the cast would take its roles with such seriousness even on a flick from an indie studio shows a great deal of respect both for the studio and for audiences. It also makes suspension of disbelief that much easier for viewers. And in turn, it makes the movie even more worth at least one watch.
The casting of a group of up-and-coming stars for Born to Race: Fast Track and the cast's seriousness with its roles goes a long way toward making the movie worth at least one watch. The movie's script and by connection its pacing add even more value to the overall presentation. All three factors together make Born to Race: Fast Track a movie that while being an indie release, is one that any fan of movies with fast cars and young stars will enjoy even with just one watch. It is available now in stores and online. It can be ordered direct from Anchor Bay Entertainment's online store at http://www.anchorbayent.com/detail.aspx?ProjectId=d3c94bf6-38e7-e311-877b-d4ae527c3b65. More information on this and other releases from Anchor Bay Entertainment is available online at
Website: http://www.anchorbayent.com
Facebook: http://www.facebook.com/AnchorBay
Twitter: http://twitter.com/Anchor_Bay
Posted in Celebrities, DvD's and blu-rays, Internet, Movies	| Tagged Anchor Bay Entertainment, Awkward, Beau Mirchoff, Born To Race, Born To Race Fast Track, Brett Davern, CBS, celebrities, CSI Crime Scene Investigation, CSI Miami, Disney, entertainment, facebook, internet, movies, MTV, Phils Picks, The Fast and the Furious, Tom Cruise, Top Gun, Twitter, Universal Studios, Viacom, Vin Diesel, Wizrds of Waverly Place, Wordpress	| Leave a reply


Photographic exhibition about the dolomitic frontline of the First World War.
The Italian War History Museum introduces a cycle of photographic exhibition named "Sguardi sulla Prima Guerra Mondiale", inside the fortified tower Malipiero in the Castle of Rovereto.
The look of Fabio Pasini focused on some symbolic places of the Italian-Austrian frontline, in particular of Dolomites: savage and wonderful places, landscapes that enchants like in the past, but that were also atrocity scenes, a hundred years ago.
The photographer chooses to represent this world by the most simple way, the pinhole: no lens, no viewfinder, just a little hole in which passes the light that exposes the film. An extreme simplicity that require great attention, long waiting times and scanty possibility of control.
This instrument has permitted to the author to fix the beauty of these mountains and, above all, to pick up the silent and hidden drama.
In exhibition 14 black and white photos 9×9 cm.
Thanks to the collaboration with the Azienda per il Turismo di Rovereto e Vallagarina, you can have a preview of the exhibition with a photo of the Dente Austriaco of Pasubio, which will be exposed in the l'Infopoint in piazza Rosmini in Rovereto during the first weeks of the opening.
The exhibition is realised with the contribution of the Cultural Department of the Province of Trento and is part of the official programm for the commemoration of the First World War Centennial by the Presidenza del Consiglio dei Ministri – Struttura di Missione per gli Anniversari di interesse nazionale.


text:
A77 Improvement Scheme enters final phase
Contractor R J McLeod, who is constructing the project on Transport Scotland's behalf, will be carrying out works to improve access for road users. These works will include widening existing junctions, closing central reservations between Spittal Interchange and Dutch House roundabout and connecting the flyover bridges.
The main scheme itself will provide safer access to the A77 by removing the need for right hand turns across this busy stretch of road.
For the safety of road users and road workers alike, it will be necessary to sequentially close lanes on the A77 . These works are scheduled to commence on 20 January and will last for a total period of approximately eight weeks. Work will include:
the A77 Southbound will be reduced to one lane for approximately two weeks from 20 January 2014 to allow improvement works to accesses and laybys
the A77 Northbound will be reduced to one lane for approximately three weeks during February 2014 to allow improvement works to accesses and laybys
A77 Southbound and Northbound fast lane closures will then be undertaken for approximately two weeks to allow improvement works to the central reservation
Road signage will provide up to date details on the programme. Road users are encouraged to visit the Traffic Scotland website in advance of their journey to get the latest travel information.
For the safety of road workers, the speed limit will be 40mph throughout the works.
Advance warning signs will be erected prior to the works to notify road users.
Local access will be maintained throughout this period.
John Quail, Project Manager at Transport Scotland said:
"As advised in December 2013, these works mark the start of the final phase of this important scheme to improve safety on the A77.
"The works will see right hand turns replaced with flyover junctions. In order to complete the works it is necessary to implement traffic management measures which will result in some lane closures to southbound and northbound traffic, as well as closures to the central reservation.
"We have planned these lane closures carefully to minimise the impact on the local community and travelling public but some delays are inevitable.
"We advise motorists to plan their journeys in advance using all the available journey planning tools. We thank drivers for their patience during this period."
Contractor RJ McLeod is on target to complete in Summer 2014.
Journey planning information can be found at Traffic Scotland or Travel Line. Drivers can also download our free travel information app for smartphones from either of these sites.
For frequent updates across the Scottish network join our twitter feed.
See more at Transport Scotland/A77 Symington and Bogend Toll Scheme
Published 10 Jan 2014 Tags


Genesys Rules System 8.5 defines a set of role permissions for governing the tasks that can be performed in the Genesys Rules Authoring Tool.
To view a rule a user must have Read permission for the node with which the rule is associated as well as the Business Rule - View role permission.
To delete a rule, the user must have Read permissions for the node and the Business Rule - Delete role permission. In this example, Read access permission is also needed for the delete task, because the user will not have visibility to any object that is associated with the node without Read access permissions.
Release 8.5.302 provides package-level overrides to these global roles—a user's role privileges can be restricted to specific rule packages by applying Role-Based Access Control at the rule package level. See Changes in 8.5.302.
Business Rule - Edit Only - allows a user to edit and save only the parameter values of a rule. No other permissions are granted.
From 8.5.303—Rule Package History - Admin View—Allows viewing of complete package history for a rule package without checking access to the business hierarchy subnodes used inside the rule package. Even with this role privilege enabled, the package history will only be shown for packages that the user can view.
From 8.5.303—Rule Package History - View Changed By—Allows users to view Changed By information in Package History.
Snapshot - View: User can view and export snapshots. If this is not enabled, users will only see LATEST in the list of snapshots, which represents 8.1.2 functionality where users can only deploy the latest version.
Snapshot permissions are active on the Deployment tab of GRAT, so all snapshot permissions also require Rule Package - Deploy permission.
GRS requires Genesys Administrator 8.1.305.04 (minimum) for configuring package level permissions.
You can expand the graphics by clicking on them.
Previously, GRAT used Configuration Server Roles to provide only global access control to all packages in a given node of the business hierarchy. The privileges, like Modify Rule Package, Delete Rule Package, Modify Rule, Delete Rule and so on, are granted to users via roles. With this approach, if a user is granted the Modify Rule Package (for example) privilege, then they can modify all the rule packages defined in a node of the GRAT business hierarchy.
Release 8.5.302 now provides package-level overrides to these global roles—role privileges can be restricted to specific rule packages by applying Role-Based Access Control at the rule package level. The new Rule Package Level Roles (roles created specifically for use with rule packages only) can be mapped to rule packages to override the global-level roles. These Rule Package Level Roles will have no effect if not mapped to a rule package.
View access for specific rule packages can now be controlled by using the new role permission View Rule Package. The new permission is applicable to only the rule package level.
All of the existing role permissions except Create Rule Package and template-related permissions are applicable at the rule package level too.
Where package-level roles are mapped to a rule package, they override global-level roles.
The mapping of the rule packages to Rule Package Level Roles is managed in Genesys Administrator or Genesys Administrator Extensions, in the options under section Rule Package Level of the \Scripts\GRS Access Control\GRS Role Mappings script. The example below is from Genesys Administrator.
Because the delimiter in the list of roles is a comma, you can't use commas in the names of any role.
To enable GRAT users to view their current list of permissions, a Check My Permissions button is now also available at the rule-package level and shows the permissions at selected package level.
Retrieved from "https://docs.genesys.com/Documentation:GRS:Deployment:RolePermissions:8.5.3 (2019-04-19 17:43:21)"
This page was last modified on April 28, 2017, at 04:03.


text:
Киевский еврейский театр-студия «Мазл тов» — еврейский театр был основан в советском Киеве и функционировал на Украине. Театр был лауреатом различных международных фестивалей. Коллектив театра насчитывал более шести десятков человек, и в 1993 году ряд деятелей театра были удостоены почётных званий Украины. Из-за отсутствия средств театр был вынужден закрыться.

История
Театр был создан в 1988 году в Киеве (УССР) Георгием Мельским как разножанровый театр (композиции были как на еврейские, так и на украинские и другие темы). Значимый вклад в создание и становление театра так же внесла актриса ГОСЕТ Мария Ефимовна Котлярова. Репетиции театра проходили с начала 1989 года. Первый спектакль режиссёра М. Бакри был «Швер цу зайн а ид» («Трудно быть евреем») по Шолом-Алейхему.

Театр гастролировал по разным странам, среди них: Израиль, Канада, Австралия, Германия, Аргентина.

На VIII международном фестивале в Мюнхене театральная картина Ю. Хащеватского «Всё хорошо…» завоевала Гран-при.

Труппа
 Художественный руководитель:
 Георгий Дмитриевич Мельский
 Главный балетмейстер:
 Алла Давыдовна Рубина (1990—1996)
 Заведующий труппой театра:
 Светлана Алексеевна Барандич (1989—1992) — актриса драматического театра высшей категории, заведующая труппой театра.
 Музыкальный Руководитель (Главный дирижёр):
 Арнольд Святогоров.
 Актёры:
 Попко Владислав (1988-1997)
 Милена Бурд (1988—1996)
 Александр Вячеславович Вилков (II) (1991—1999)
 Виктория Спесивцева

Закрытие
За всю историю существования театр не получал поддержки государства ни в виде субсидий, ни в виде выделения помещения. Существовать только за счёт доходов от спектаклей и гастрольной деятельности было невозможно. Последним моментом стало то, что во время гастролей театра в США еврейские организации не представили обещанную поддержку в виде рекламы из-за того, что в репертуаре оказалась Зонг Опера Мистер Сковорода, а консульство Украины не смогло адекватно компенсировать этого. В связи с этим в Нью-Йорке осталось более 8 тонн реквизита и декораций, на отправку которых обратно на Украину не было средств.

См также
 Мазаль тов

Примечания

Ссылки
 «Свадебный кортеж» Киевский еврейский театр «Мазлтов»
 Киевский еврейский театр Мазлтов
 Мир Вам, Шолом 03 11
 Мир Вам, Шолом 11 11
 Мир Вам, Шолом (02-11)
 ВЫСТАВКА работ художника Льва Филипова-Шпольского

 Коллекция «История еврейского театра»

Театры, основанные в 1988 году
Появились в 1988 году на Украине
Камерные театры
Исчезнувшие еврейские театры
Исчезнувшие театры Киева

redpajama_set_name: RedPajamaWikipedia


text:
<?php

namespace Google\Cloud\Core\Upload;

use Google\Cloud\Core\RequestWrapper;
use Google\Cloud\Core\UriTrait;
use GuzzleHttp\Psr7;
use Psr\Http\Message\StreamInterface;

/**
 * Provides a base impementation for uploads.
 */
abstract class AbstractUploader
{
    use UriTrait;

    const UPLOAD_TYPE_RESUMABLE = 'resumable';
    const UPLOAD_TYPE_MULTIPART = 'multipart';
    const UPLOAD_TYPE_STREAMABLE = 'streamable';
    const UPLOAD_TYPE_SIGNED = 'signed';

    const RESUMABLE_LIMIT = 5000000;

    /**
     * @var RequestWrapper
     */
    protected $requestWrapper;

    /**
     * @var StreamInterface
     */
    protected $data;

    /**
     * @var string
     */
    protected $uri;

    /**
     * @var array
     */
    protected $metadata;

    /**
     * @var int
     */
    protected $chunkSize;

    /**
     * @var array
     */
    protected $requestOptions;

    /**
     * @var string
     */
    protected $contentType;

    /**
     * @param RequestWrapper $requestWrapper
     * @param string|resource|StreamInterface $data
     * @param string $uri
     * @param array $options [optional] {
     *     Optional configuration.
     *
     *     @type array $metadata Metadata on the resource.
     *     @type int $chunkSize Size of the chunks to send incrementally during
     *           a resumable upload. Must be in multiples of 262144 bytes.
     *     @type array $restOptions HTTP client specific configuration options.
     *     @type float $requestTimeout Seconds to wait before timing out the
     *           request. **Defaults to** `0`.
     *     @type int $retries Number of retries for a failed request.
     *           **Defaults to** `3`.
     *     @type string $contentType Content type of the resource.
     * }
     */
    public function __construct(
        RequestWrapper $requestWrapper,
        $data,
        $uri,
        array $options = []
    ) {
        $this->requestWrapper = $requestWrapper;
        $this->data = Psr7\stream_for($data);
        $this->uri = $uri;
        $this->metadata = isset($options['metadata']) ? $options['metadata'] : [];
        $this->chunkSize = isset($options['chunkSize']) ? $options['chunkSize'] : null;
        $this->requestOptions = array_intersect_key($options, [
            'restOptions' => null,
            'retries' => null,
            'requestTimeout' => null
        ]);

        $this->contentType = isset($options['contentType'])
            ? $options['contentType']
            : 'application/octet-stream';
    }

    /**
     * @return array
     */
    abstract public function upload();
}

redpajama_set_name: RedPajamaGithub


'cause you've got personality, walk personality, talk personality . . .
My friend Calon Lan posted about her results on the Myers-Briggs test which I had just taken myself the other day. I'm an ENTP. What I found most interesting is the fictional and historical characters who are also ENTP's that are listed at the bottom of this particular article. These are characters who share my personality type. I find this extremely fascinating because these are the characters I have either admired or enjoyed watching/learning about as I continue to grow up. These are characters who have captured my imagination, tickled my funny bone and inspired me. Amazing! Check this out.
Heh, heh. (Blushes embarrased.) A the G was short and so am I but that's as far as I want to draw the comparison in this exact moment.
I've been wanting to read Mornings on Horseback for a long time. I'm even more inspired now.
I can't confess to always understanding Alice in Wonderland, but I have loved the concept and it's one of my top favorite Disney Classics. His sense of humor makes no sense at times and yet I find him amusing. Scary.
Hitchock is as suspenseful as I like to get on film. I've watched several "behind the scenes" documentaries of some of his films as well as the Biography edition featuring Hitchcock and I've always appreciated his subtle humor in movie making. I like how he also appears in each of his films - ever so subtly. That's so me. I like to be out there, but not easily noticed.
I've always liked her music and her approach to life but I think that's where my identification ends.
Ok. Whatever your thoughts on Friends might be - I watch because of Chandler. He has the hands down best lines and best sense of humor. I am greatly amused!
Garfield has always been my most favorite cartoon character. I know he's been around awhile (hey! as long as me!) but I still find him humorous.
Have you read Rumpole? Read my review of Rumpole of the Bailey here. Love this guy!
ENTPs are usually verbally as well as cerebrally quick, and generally love to argue--both for its own sake, and to show off their often-impressive skills. They tend to have a perverse sense of humor as well, and enjoy playing devil's advocate. They sometimes confuse, even inadvertently hurt, those who don't understand or accept the concept of argument as a sport.
In terms of their relationships with others, ENTPs are capable of bonding very closely and, initially, suddenly, with their loved ones.
I'm not sure how true that is, really, but I find it interesting.
Anyway, that's me. What about you?
John Bradshaw, Mother Teresa, Robert Burns, John Calvin, Nicole Kidman Mohandas Gandhi, Sidney Poitier, Eleanor Roosevelt, Jane Goodall, Emily Bronte, Sir Alec Guiness, Carl Jung, Mary Baker Eddy, Queen Noor are all examples of the Counselor Idealist type.
A fellow INFJ here, Sky!
Interesting. I think that's what my dad is.
I don't KNOW what I am. I always tested borderline E/I, but the overall description for ENTJ fit me more than INTJ, but now I've become even more comfortable in the I temperament, so I don't know.
I just took one of those, and I was coming out ISTJ or ISTP and I don't agree with those.


Kitchen cabinets also play an important position in enhancing the overall charm of house. A trendy home would add to the decor. People also view the kitchen simply because the lady's place of living and thus a clean kitchen is considered as a measure of one is good household. Even in the olden days when the in laws popped out to the girl's house, in order to meet her for the first time they alleged on inspecting the kitchen to enjoy that how much the girl is good at house hold. In lofts the kitchens will be small and at the same plane as the rest of the living space. In this case they become very important because they are visible by every place and it is necessary to give it a good look to see the design.
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