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Professor Longhair: "Big Chief" and "Tipitina"
Professor Longhair was a New Orleans piano player who greatly influenced Dr. John. Here is the first paragraph of an interesting site dedicated to the colorful and eccentric musician:
Henry Roeland Byrd (a.k.a Professor Longhair) was Born in Bogalusa, Louisiana, on December 19, 1918. The Henry Roeland Byrd story is fundamentally the story of an artist who created his own musical world, constantly refining and elaborating a distinctive personal style. It may have been too idosyncratic to ever capture mainstream popularity during Longhair's lifetime, but it was so striking and individual that it ultimately became the definitive standard for New Orleans piano players. Continue Reading…
Here is more, from Alligator Records:
New Orleans is said to be a city where having a party has been elevated from a casual pastime to a way of life. Nobody understood this better than Professor Longhair, one of the pioneers of New Orleans rhythm & blues. His influence can be heard in Fats Domino, Allen Toussaint and Dr. John, among many others. Known for his unique mix of blues, jazz, calypso, ragtime, and zydeco, "Fess" (as he was known) defined and captured the essence of New Orleans in his music. Born Henry Roeland Byrd in Bogalusa, Louisiana 1918, and raised in New Orleans, Fess started performing at an early age, often dancing down Bourbon Street for tips. Continue Reading…
Above is Big Chief and below is Tipitina.
Tagsbig chief professor longhair download free videos download youtube videos Professor Longhair professor longhair discography professor longhair go to the mardi gras professor longhair songs professor longhair tipitina rofessor longhair biography
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Meet One Of The Artists Who Reinvented Dior Lady Bag
Eliza Scarborough | 31-01-2018
© MARK PECKMEZIAN FOR DIOR
Dior are reinventing the Dior Lady bag again, and this time the selection of artists is as exciting as it is diverse. Here we chat to French-born Betty Mariani, who marries modernism with traditionalism, creating art, and a unique lady Dior, that is inspired by street art, abstract expressionism, and classical techniques.
Born in 1993, Betty Mariani has already come into her own as an artist, focusing largely on the texture and 'movement' of her drawings and paintings. For Dior, the young Frenchwoman has combined modernism and traditionalism, employing compelling colour-splatter techniques and a complex, multi-layered texturing that makes her bag appear to 'have lived in some way'. The idea, she says, is that it looks as though people on the street have been constantly adding to it. As once a graffiti artist and an abstract expressionist, Mariani is constantly innovating, embracing an aesthetic that is impossible to pin down.
What do you make of your frequent comparison to the street artist Banksy?
Banksy is an artist who was the starting point of my passion and my interest in street art. He's totally fascinating. I admire him immensely. But my work is still different. I think that, generally speaking, when we talk about street art, we talk about Banksy. Maybe these comparisons speak more to the people making the comparisons.
Can you walk us through your typical design process?
After I visualise my painting, I try to represent it with different sketches. Then I choose a range of dominant colours with which I create the background. Spontaneity and emotion provide the rhythm and movement of the painting. There are a lot of layers of paint and materials on my canvases. I am constantly searching for reliefs, irregularities to the touch. Then, if I have decided to add people or characters, I will create collages or drawings.
What do you consider your central theme?
It may be cliché, but life. Anything that touches me from near or far. The characters, the staging, the stories told. Likewise, people I have met, events that I wish to share.
Are you self-taught?
Yes, and in a certain way I've always been very proud of that. As a child I already had more ease in drawing than other children. From drawing to painting I learned everything by myself. Later, I learned tags and graffiti, too.
Is art learnable in the same way that Spanish or algebra is learnable?
For me, the key to learning is passion. Passion can make you learn, overcome, discover, or love a lot of things. Whether it's playing a musical instrument, making a film, writing a book, or learning a language.
To what extent is your work defined by spontaneity and instinct?
Despite my colour range, I never know how my flows, spots, or reliefs will appear. It provides a unique aspect for each canvas. The idea of not being able to reproduce the same painting twice is very interesting. To let emotion, instinct, and gestures take over is really good. The non-calculated dimension is fascinating!
How did your childhood affect your artistic outlook?
I live in the suburbs of Paris so when I was a kid I used to go to museums all the time. The Louvre made a big impression on me. There I discovered art history. Then there were more modern museums like the Centre Pompidou and the Musée Picasso, which both taught me a lot. These visits, and my passion for art have made it possible that today I can be inspired just as much by a fourteenth-century Madonna as by a Picasso painting or a sculpture by Damien Hirst. Having been able to discover several artists, currents, and epochs very early on, I was not stuck on a particular movement. I was able to be attentive to other art forms and to broaden my areas of inspiration.
When did you know art was your path?
I am fortunate to have always been supported by my family, friends, and even teachers. Everyone kept telling me that I was going to end up in this direction, but I didn't want to believe it. It always seemed like more of a dream than reality. Despite everything I continued to draw and paint for years on the side. Then, in March 2016, my first exhibition took place, and I sold my first paintings. At that moment I thought to myself, 'go throw yourself into art, or you'll regret it. If you have the opportunity to follow your passion, don't hesitate a second!' From then on, my future was set.
How does your youth affect your artwork?
The advantage of being a young artist is that I can only progress when it comes to the development of my technique and ideas. My motivation has been reinforced by a few successful projects, which have given me confidence in myself and my work.
Do you think of yourself as a part of any school or style?
Oh no, not yet. I don't want to be classified in a category for now. That will come as late as possible, I hope. I have the feeling that if I'm a part of any style or school, as you say, I won't be able to move. I don't know. Maybe in the next few years my paintings will be completely different. So, wait and see.
Who are the writers, artists, and philosophers, to whom you look up to?
I admire the longevity of the French street artists Blek le Rat and Miss. Tic. I love Jean-Michel Basquiat, I envy his creativity. He had such an intense and rich but short life. It is very impressive that he left behind more than two thousand works by twenty-seven, when he died. There are so many other artists that I appreciate too, from Jackson Pollock to the sculptor Niki de Saint Phalle, even Sandro Botticelli and Henri Matisse.
Although influenced by street art, you also revel in abstract expressionism, what's the result of this combination?
I have always been attracted by abstract expressionism. It is an artistic movement which has, for me, something enigmatic and fascinating. While experimenting, I have found a balance between these two movements, which has been important to me in finding a personal style. The backgrounds of my paintings are inspired by abstract expressionism, in order to emphasise the materials and the colours, which are fundamental. I give a lot of importance in textures, to the volume of the paint and the movement of the artwork. Gestures have also been an integral part of abstract expressionism, just like in graffiti art. The gestures of an artist give a rhythm or a drive, a music to the created work, which is what one finds both in graffiti as well as in an abstract painting.
What drew you to collaborating with Dior?
When I was invited to participate I didn't believe it at first! It's such an incredible project, but it has also been a real challenge for me. I am very proud to associate my work with this mythical house. It's a great proof of confidence that Dior has offered this opportunity to me, especially at my young age. Dior has done a great job and the savoir-faire of the house is just undeniable.
What was behind the idea to create a bag that is at once chaotic and traditional?
I wanted something that would contrast with the elegance and sobriety of the Lady Dior that we know so well. I wanted to give the bag a dose of youth and freedom. I love the idea that tags, stains, drippings, and not very clear designs might be found on a couture bag while keeping the emblematic codes of the Lady Dior, like its cannage pattern. The mix of the two offers a unique vision. I love it!
How did you use the textures of your re-imagined Lady Dior to tell a story?
The textures were very interesting to work on. The goal was not to have a smooth, flat surface. I wanted irregularity to touch, a relief, in order to give a certain depth to the visual aspect of the bag. The idea was that the bag has lived in some way, like a canvas with several layers of paintings or a wall in the street to which, over time, there might be added collages, drawings, tags, etc.
Were there any surprises in the process of turning your artistic vision into a bag?
I was pleasantly surprised by the freedom Dior's team gave to the artists when it came to the construction of the bag. We had carte blanche to really create the bag that we wanted and that corresponded to us.
Were there any technical challenges when creating your bag?
The only challenge was, perhaps, finding the balance between classic and modern style, which was very important to me.
Is there a certain emotion or idea you're trying to convey with your bag?
The image of the woman represented on my Lady Dior is, for me, the depiction of a strong, independent, and creative woman. My wish is that all women who carry my bag will feel these different emotions. Moreover, the artistic direction of Dior is directed by a woman currently, and I think that, subconsciously, that influenced the emotions I wanted to transmit with my Lady Dior. Like a little wink!
To continue practicing, experimenting, exploring, exhibiting, and collaborating. The art world is full of surprises. I hope to be able to discover them!
fashion interview

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Jon is also an active member of our Investment Committee and is SFE's board chairman, as well as a shareholder. A proponent of giving back to society through volunteer work, Jon serves as chairman of the board of the Millennium Housing group and is a board member of Catholic Big Brothers Big Sisters. He previously served as board chair of Ability First and on the board of St. Vincent Medical Center Foundation.


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What Kind of Future are We Making?
Ruth Mack August 7, 2020 August 9, 2020
Last fall at my home institution SUNY Buffalo, amidst a crisis in college-wide decisions about graduate education, two of my colleagues called a faculty meeting by petition. This was no light matter; they activated a section of the bylaws of the College of Arts and Sciences that had not been touched in decades. The meeting was fascinating, as were the discussions and actions that ensued. But what stuck with me most at the time was an encounter the afternoon of the meeting with a colleague, who chattily remarked that he would not be attending the meeting. Instead, he was instead headed home to paint his house. At the time I was shocked by what seemed to me a dereliction of duty. Since then, however, I have come to think of his choice in other terms. I'm fairly sure that the willingness to make the trade—home improvement for faculty governance—is a symptom of a basic understanding of tenured faculty work at a public research university. Our hierarchized forms of work privilege research, then teaching and, finally, service (which includes everything that does not fall into one of the other two categories). That service is understood to be highly optional and can even look like uncompensated labor. This is a set of values, a kind of valuation, that I learned when I entered the university and have shared at many points since then. This brief paper is about that basic understanding of work and about how Enlightenment thinkers might help us as faculty members to consider our own ideological obstacles to working toward a better future.
The Enlightenment is famous for its destructive thinking about the future. As Fredric Jameson put it, the Enlightenment is the context for the "empty conception of some future terminus which we sometimes call progress." The Enlightenment is also the origin of the concepts of intellectual labor that continue to undergird our own notions of professional work, both inside the academy and in the middle-class professions of those trained in the academy. I am particularly interested in two writers who respond directly to the new definitions of intellectual labor circulating in the early eighteenth century: Stephen Duck and Mary Collier, the thresher and washerwoman poets, respectively. Duck and Collier are good guides when it comes to pushing questions around the kind of thing intellectual labor is: how it is related to other forms of labor, and how it privileges the individual in relation to the community.
Anyone who has ever struggled with nonacademic family members' questions about whether academic work is "done," and anyone who has ever had to explain to an outsider a phenomenon as banal as the lack of required attendance at faculty meetings, has a good sense of the complexity of conceptions of academic labor. There is a long history to this complexity, as Christopher Newfield points out in his first book-length study of the history of the university. In Ivy and Industry Newfield identifies the roots of American conceptions of academic labor in the "free labor" or "craft labor" that make freedom central to work. The academic, writes Newfield, is "in most ways a nineteenth-century small producer," supervising her own work and setting her own goals. "The old college resembled the workshop, rather than the factory," Newfield writes, and senior colleagues would teach junior colleagues in such a way as to ensure their own work would be under their own control. As Newfield goes on to suggest, unlike the workshop, the academic's version of craft labor proceeds through a highly individualist model, especially in the context of the humanities where work is rarely collaborative. When talking to that outsider friend about how it's possible to skip faculty meetings without consequences, then, it would be right to say that faculty labor is so free and so individual in its conception that it cannot be required even in the maintenance of the workplace.
As Newfield tells it, this free work coexists with but does not disturb the university's business-minded bureaucracy, producing a "submissive individualism" that insists to the academic that she is subjected to bureaucratic forces beyond her control but that those same forces allow her what she needs: independent research. In such a world, the value of faculty governance is hard to recognize. The institution's own logic, then, suggests that writing an article—or indeed, painting a house—might be a better time investment than attending a faculty meeting. For Newfield, however, this need not be the end of the story. He returns to craft as a way for us to reconceive of the potential for agency and action. The hopefulness of Newfield's Ivy and Industry, then, is that by reconceiving our own labor, we will be able to use that labor in ways that upend the current bifurcated structure of academic work and administration. Craft labor might help us assume that management is also our work. In one of his most radical conclusions, for example, Newfield asks us to consider what the university might look like if we were to consider administration in terms of "process," as itself a crafted or made thing.
I agree with the endpoint of Newfield's argument: that academic laborers would be more powerful in their institutions, and beyond them, if they considered themselves as workers. At the same time, Newfield's craft metaphor (which he pulls from the American context) risks making it seem as though we can avail ourselves of this new form of agency quite easily. The eighteenth-century British context allows us to see our predicament more clearly. Historians have shown us that craft labor is already baked into concepts of intellectual labor; for this reason, our own return to and recovery of craft is bound to be difficult. We can see an early version of craft intellect in the seventeenth century—in the construction of the Royal Society's brand of experimental knowledge, which relies on artisanal labor to undergird accounts of the Society's novel turn toward experience. Despite its reliance on the senses, however, Enlightenment science "would elide the bodily epistemology" of the artisan, as Pamela H. Smith observes in The Body of the Artisan: Art and Experience in the Scientific Revolution. We see the tension between the artisan and the philosopher in Thomas Sprat's History of the Royal Society (1667), where the artisan is alternately a model for philosophical thought and a disparaged figure whose philosophy cannot rise above the material products of his workshop. When Sprat imagines the mechanic's philosophy as "consist[ing] of Springs, and Wheels, and Weights," he participates in a long philosophical tradition, going back to Plato and Aristotle, in which the artisan is called in to help structure of a new form of knowledge, only to be displaced by the philosopher and his theory, ensuring that the head continues to dominate the hands. Artisanal knowledge, it seems, must remain securely metaphorical.
Clifford Siskin excavates the origins of intellectual labor in the eighteenth century, focusing on how literature and literary criticism—the "work of writing"—come to be conceived as the best, because deepest, kind of work. Although Siskin's primary concern is the figure of the Romantic poet—his demystification of Wordsworth's Prelude as "résumé" remains memorable—he locates one origin of this new leisurely labor in John Dryden's translation of Virgil's Georgics (1697). There, Siskin observes, the "work of writing" becomes "heroic activity," formulated as the better work in contrast with the agricultural labor Virgil's poem (and Dryden's translation) describes. Labor in this new intellectual form remains "arduous," but "Wordsworth returns to the land, but not to till it."
When we take up our own intellectual labor, it comes to us already bound to artisanal craft knowledge. Now, as in the Enlightenment, the move toward the intellectual not only retains a trace of the physical and the practical but also uses these elements in establishing a hierarchy within intellectual labor. One can see this in the research university's virtually unshakeable hierarchy of research, teaching, and service. Even the word "service"—used as a catchall term, covering everything from obligated committee labor, to advocacy work for students, to faculty governance—insists on the practical, the practice-oriented work that can be contrasted with the theoretical, philosophical brainwork of the scholar. Indeed, we all casually reinforce this kind of division in a variety of ways, as when I many times have described the return from teaching or committee work as a return to "my own work." I am not contesting the value of research work; now more than ever, especially in the humanities, we must insist on it. In our insistence, however, we remain aware that an embrace of the research-teaching-service hierarchy stands to reinforce the notion that practitioners need have no say in the institutional values and decisions that support their work.
It is at this point that I find helpful the labor-focused poetry of Stephen Duck and Mary Collier, poets who wrote in the context of a new definition of intellectual labor that formed in the Royal Society as well as in the Georgic tradition revitalized (by Dryden, among others) in that same scientific context. The two poets often are spoken about as antagonists; Collier rose to fame through The Woman's Labour (1739), an explicit critique of Duck's The Thresher's Labour (1730). But in terms of the relation between poetry and work, both writers move along the same axis by restoring to poetry the body of the poet. These poems stress the body in the verse: the ubiquitous "sweat" of Duck's thresher, Collier's female laborer's body that cannot exist without a child at its hip. To the Royal Society and the Georgic poets who followed its lead, propping up its new disembodied knowledge on the laborer's body, Duck and Collier insist that their bodies are still present, still central to the making of poetry as well as to the reaping, gleaning, or threshing.
This embodied poetry is not a solution to what we are facing, but the kind of thinking behind it shows us a way forward, even within our own supposedly-refined sphere of professional, intellectual labor. To acknowledge the presence of embodied craft labor in all the forms academic work takes is to disturb the hierarchy long enough for us to formulate questions about value. If we look more skeptically at the old theory/practice binary that keeps our research work separate from other forms of labor, it might be easier to discriminate between forms of "service," asking more clearly about which populations are served and by whom. It might allow us to imagine revaluing forms of service that do important ethical and community work. It might allow us to privilege—rather than finding ways to penalize—intellectual projects that are based on integrated research and advocacy, the kind of work that many BIPOC and LGBTQ scholars have been doing for decades. The "we" here is necessarily a complicated one, and in order to transform the stakes for work in the academy, tenured white cis-gendered academics (I am one) need to examine the ways in which they benefit from others' labor and how they might reconfigure systems not just for greater inclusion but for greater equity, for a good that exists beyond themselves.
Moreover, whereas Newfield calls on craft to suture together different kinds of work, Collier, in particular, insists that a turn toward craft be combined with a reflection on the forms of embodiment available to different bodies. Collier's poem turns on a series of revelations that show the reader of Duck's Thresher's Labour the ways in which women's labor is rendered invisible. And Collier begins her poem by making clear that the inequity perpetuated by Duck's poem can be traced back to "Our first Extraction from a Mass refin'd," that is, to women's own embodied state as rendered in religious discourse. If we return the body to intellectual labor, then we must summon, too, questions about which bodies are called on for which kinds of work. Female and BIPOC scholars have been writing for years about the disproportionate service roles academic settings of all kinds require for them. If we are to address different forms of inequity in the academy, the solution is not to cling to a disembodied ideal of intellectual labor; instead, we should clear the way for an accounting of the effects of a workplace in which not all bodies are socially privileged enough to allow their easy abstraction. Returning the body to intellectual labor might make it easier to ask about the privilege and the politics involved in the distribution of that labor along with the other forms of work that structure our working lives.
Articles on the humanities often end with a command to fight harder. Sometimes these calls to action are meant to be terrifying. Remember the end of Stanley Fish's 2018 article "Stop Trying to Sell the Humanities," where he admits his lack of a positive solution, telling us that we'd better come up with something or suffer the fate of Wisconsin's Stevens Point campus. Eric Hayot's article, published that same year, is more hopeful: "There's still time to fight." Fighting makes it sound as though we need to drop what we are doing and get out into the streets. I'm sympathetic to that rhetoric and the sort of responsibility it has us imagine. But these calls to battle have become hackneyed, producing at least as much despair as action. Many academics are still closing their office doors and finishing research, as the university collapses around them. Before we try to rally, let's try to rework work. If we were to focus on embracing the agency and the interrogations of practice that craft brings up, we could start making the future we want to see.
Ruth Mack is Associate Professor of English at SUNY Buffalo. She is completing a book on craft knowledge in the British Enlightenment.
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FLIR identiFINDER R200 with gamma and neutron detection capabilities.
Ionizing radiation is everywhere. Knowing where it is in the community and what type it is, helps responders be more effective and increases personnel and public safety.
Naturally occurring radiation (NORM) found in the environment and in everyday consumer goods.
Medical radiation used for diagnosing, monitoring and treating various metabolic processes and medical conditions.
Industrial radiation used for density evaluation, thickness gauges, product sterilization, static elimination and radiography.
Special nuclear material (SNM) used in weapons. SNM is typically the most harmful, but also can be the most difficult to find.
SNM can be found at nuclear power facilities, with the military, or possibly in transit, and can include such potentially harmful material as enriched uranium, uranium-233, and plutonium. What's more, SNM in public is most likely to be used for clandestine nuclear motives, making SNM detection a vital component of a comprehensive CBRNE program for homeland security and terrorism deterrence.
Neutron detectors serve as the first line of defense against nuclear-related terrorist smuggling. Systems with neutron detectors play a crucial role for responding quickly and appropriately to nuclear threats.
Neutrons have high kinetic energy and thus can most effectively penetrate material, making them difficult to shield. Furthermore, free neutrons very rarely appear spontaneously, except in the case of SNM. As a result, using a neutron detector is extremely important to stop illicit activities and prevent harm to human life.
Terrorists may attempt to obfuscate SNM as of part their illicit activities, often behind a larger benign source such as within a shipping container. Common materials like steel may block other types of radiation, but a neutron detector will detect neutrons as they pass through. The presence of neutrons would be an indication that malicious material is being intentionally hidden or masked. This is a highly suspicious situation and typically requires an immediate response.
Neutron detectors may also provide secondary confirmation of fissile material, material such as uranium or plutonium, where an initial gamma-based identification has been made.
When selecting neutron detectors, it's important to balance a number of factors, including cost, required deployment coverage and capability.
Neutron detectors can be procured across most types of detection-device form factors, including belt-worn devices, such as the personal survey meter (PSM), personal radiation detector (PRD), and spectroscopic personal radiation detector (SPRD). However, these devices may not be sensitive enough in some applications.
The radionuclide identification device (RID) typically can serve as a stand-alone solution, or as a combination radiation detection device, providing more actionable detail and accuracy, but at a higher cost.
With a variety of options available, governments and organizations can find the right neutron detection devices to identify potential nuclear terrorist activity as part of an overall CBRNE strategy, depending on the mission, coverage area or identified potential threats.


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Home/News/Solidarity now with workers and the democracy movement in Belarus!
Solidarity now with workers and the democracy movement in Belarus!
Despite massive repression, thousands of people continue to take to the streets and workers continue their workplace actions in ongoing protests against the fraudulent re-election of Alexander Lukashenko.
At least four people have been killed and hundreds injured during the protests. Leading opposition figures have been kidnapped and imprisoned. Independent union leaders are being called to meetings with the government's bureau to combat organized crime (!) and threatened with prosecution if workers continue their protests, go-slows and other industrial action in support of the democracy movement. Liza Merliak, international secretary of the IUF-affiliated independent trade union BITU, was arrested last week but later released.
On September 10, the Executive Committee of the IUF's European regional organization IUF-EFFAT affirmed its full commitment to the fight for democracy and worker rights in Belarus and called on the European Union and its member states to use all possible means to pressure the Belarus authorities to release all political prisoners and cease the violence against its citizens.
The IUF has joined with LabourStart, independent unions in Belarus and other international union organizations in a call to Stop the violence – defend democracy and human rights. CLICK HERE to support the campaign.


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Star Lake is a lake in Vilas County, Wisconsin, United States. The lake covers an area of  and reaches a maximum depth of . Visitors have access to the lake from public boat landings. The community of Star Lake, Wisconsin is located on the lake's northeast shore. Fish species enzootic to Star Lake include bluegill, largemouth bass, muskellunge, northern pike, smallmouth bass, and walleye.

External links
Star Lake at Lake-Link.com

Lakes of Wisconsin
Lakes of Vilas County, Wisconsin

redpajama_set_name: RedPajamaWikipedia


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interest to accurately represent aerial fire retardant avoidance areas as described in the 2011 Record of Decision for the Nationwide Aerial Application of Fire Retardant on National Forest System Land EIS. These changes have been integrated into this dataset depicting aerial fire retardant avoidance areas for hydrographic features. Note that this data is current for 2020.
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Fraction of Runoff from Forest Service Lands
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This feature class contains water runoff metrics from Forest Service lands. Note: 'Forest Service Lands' are here defined as those lands within the Forest Service administrative boundaries; these include some inholdings and other non-USFS lands enclosed within these boundaries. This feature class was generated from the
original study "Modeled historical streamflow metrics for the contiguous United States and National Forest Lands" (Luce, et. al., 2017) and the 2012 snapshot of the stream layer from the National Hydrography Dataset (NHD). More information pertaining to the original streamflow dataset is available on the Research Data Archive: https://www.fs.usda.gov/rds/archive/Product/RDS--
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Protesters rallied outside the gold giant's annual general meeting on Wednesday, while other concerned activists addressed shareholders inside.
Tuesday's May Day events had everything from human chess to civil disobedience, and saw the re-emergence of Occupy Toronto after a quiet winter.
Occupy Toronto, No One is Illegal and the May 1st Movement announce 24-hour "re-occupation," giant chess game in celebration of International Workers Day.
Near City Hall, some protesters are trying to bring Occupy Toronto back.
Nominated for: squandering a rare opportunity.
Poll: Does Today's Occupation Evacuation Help Heal G20 Wounds?
Until this morning, many worried that an Occupy Toronto evacuation would reignite G20 tensions. Have today's events changed your views of policing in Toronto?
Police move into St. James Park at 6:30 a.m.; protesters work to dismantle main yurt while City crews begin clean-up effort.
Calm from both protesters and police as Occupy Toronto camp gets dismantled.
From the judge's decision at 9 a.m. to soccer at 1 a.m., yesterday's rollercoaster ride at Occupy Toronto.
"The Occupiers are the immediate menace, never mind what they denounce... [T]hey should be told to get out altogether."
This morning Occupy Toronto learns whether it will be evicted from St. James Park. Two days ago they rallied in support of a different eviction: of Rob Ford from the mayor's office.
"[W]e are going into a weekend when many events are taking place, primarily the Santa Claus Parade that is taking place on Sunday. The Santa Claus parade is very dear to my heart and I want to make sure it goes off without interference"


text:
Q: Do Windows Mobile 6.5 applications work on Windows Phone 7? And if not then what do I have to do to make them?
(Our apps are in latest C# .NET.)

A: No.  You would need to port your apps to the WP7 platform. You may be able to reuse some code, but the UI model is completely different.

A: Much of the C# sharp code is most likely the same but some things like saving and loading are different as well as you having a choice between XNA and Silverlight. The link below should contain a lot of the information you need.
http://create.msdn.com/en-US/education/catalog/

redpajama_set_name: RedPajamaStackExchange


Goetz, Laurent, Manik Bhattacharjee, U MurielleFerraye, Valérie Fraix, Carina Maineri, Daniela Nosko, J AlbertFenoy, Brigitte Piallat, Napoléon Torres, Alexandre Krainik, Eric Seigneuret, Olivier David, Martin Parent, André Parent, Pierre Pollak, -Louis AlimBenabid, Bettina Debu, and Stéphan Chabardès. "Deep Brain Stimulation of the Pedunculopontine Nucleus Area in Parkinson Disease: MRI-Based Anatomoclinical Correlations and Optimal Target." Neurosurgery 84.2 (2019).


text:
Q: PHP array_diif() not working for SQL output arrays I have this php script that retrieve records from a SQL database.
$sql1 = "SELECT TOP 3 id,hipoName FROM t2o_hipo_list";
$sql2 = "SELECT TOP 3 id,hipoName FROM hipo_list";

$result1 = sqlsrv_query($conn,$sql1);
$result2 = sqlsrv_query($conn,$sql2);

$row1=[];
$row2=[];

while ($rs1 = sqlsrv_fetch_array($result1, SQLSRV_FETCH_ASSOC)) {

    $row1[] = $rs1;
}

while ($rs2 = sqlsrv_fetch_array($result2, SQLSRV_FETCH_ASSOC)) {

    $row2[] = $rs2;
}

print_r($row1);
print_r($row2);

The output of the above script was,
Array
(
    [0] => Array
        (
            [id] =>
            [hipoName] => Channa
        )

    [1] => Array
        (
            [id] =>
            [hipoName] => Chaminda
        )

    [2] => Array
        (
            [id] =>
            [hipoName] => Niroshana
        )

)
Array
(
    [0] => Array
        (
            [id] => 2531
            [hipoName] => Chaminda
        )

    [1] => Array
        (
            [id] => 2532
            [hipoName] => Niroshana
        )

)

Then, I used the array difference on the $row1 and $row2 variables, as mentioned below,
$x = array_diff($row1,$row2);

However, an error generated saying,

Error: Array to string conversion

I tried the same concept with a simple script as shown below,
<?php

    $active = ['a','b','c','d','e'];
    $current = ['b','c','f','g'];

    echo 'data 1: ';
    print_r($active);
    echo '
';
    echo 'data 2: ';
    print_r($current);

    echo '

';

    $a1 = array_diff($active,$current);
    $a2 = array_diff($current,$active);

    echo 'output 1: ';
    print_r($a1);
    echo '
';
    echo 'outut 2: ';
    print_r($a2);

?>

And the output for the above script is what I need,
data 1: Array ( [0] => a [1] => b [2] => c [3] => d [4] => e )
data 2: Array ( [0] => b [1] => c [2] => f [3] => g )

output 1: Array ( [0] => a [3] => d [4] => e )
outut 2: Array ( [2] => f [3] => g )

How can I achieve this output, is it possible to get it in this same concept?.

A: As the manual for array_diff() states:

Note: Two elements are considered equal if and only if (string) $elem1 === (string) $elem2. In other words: when the string representation is the same.
Note: This function only checks one dimension of a n-dimensional array. Of course you can check deeper dimensions by using array_diff($array1[0], $array2[0]);.

So it is completely natural that you get an Array to string conversion error for multi-dimensional arrays.
To achieve the desired result, you should use array_udiff() with your own, custom comparison function:
$active  = ['a','b','c','d','e'];
$current = ['b','c','f','g'];

$compare = function($a, $b) {
    // The spaceship operator was introduced in PHP 7
    return $a <=> $b;
};

// Returns: [0 => "a", 3 => "d", 4 => "e"];
$a1 = array_udiff($active, $current, $compare);

// This works on all current PHP versions
$compare = function($a, $b) {
    if ($a === $b) {
        return 0;
    }

    return ($a < $b) ? -1 : 1;
};

// Returns: [2 => "f", 3 => "g"];
$a2 = array_udiff($current, $active, $compare);


At present, China's population aging has entered the accelerated phase. In 2012, 194 million people were at or above 60 years old, accounting for 14.3% of the total population. In 2013, the aged population amounts to 202 million, accounting for 14.8%. At the same time, the increasing population of the oldest, childless and disabled elderly as well as those with chronic diseases exacerbates the aging problem.
In response to the aging problem, China has issued a series of policies to support the aging industry and build the social aged care service system based on homes, communities and institutions. Now, the majority of the regions in China have proposed the "9073" plan (90% of the old people accept home-based care, 7% community-based care and 3% institution-based care). During the "Twelfth Five-Year", China will erect the aged care service system consisting of centralized services and community- & home-based care.
As of the end of 2011, China had a total of 39,145 aged care institutions with 3.132 million beds, which was far from meeting the domestic demand. Measured by the "9073" aged care system, China faced a shortage of 2.418 million aged care beds in 2011. Meanwhile, the limited number of paramedics can not meet the demand; according to the ratio 3:1, China needs 10 million paramedics at least, but now only less than 1 million paramedics are available.
In recent years, China has allowed social capital to enter the aged care field; meanwhile, the intensified aging embodies huge potentials of the aged care market. Social capital has flown into the aged care real estate industry. For instance, the projects developed by private enterprises such as Shanghai Qinheyuan and Sunset Glow have been put into operation.
Real estate companies including Vanke, Poly Real Estate and R & F Properties, insurance firms like Taikang Life and China Life Insurance, diversified enterprises such as Harbin Institute of Technology Group Inc., Fosun Group and Legend Holdings and foreign-funded corporations like Fortress Investment and Emeritus Corp. have also set foot in the aged care real estate market.


I believe strongly in improving educational outcomes to enhance the healthcare future for every generation. I agree with a mission in improving learning results for everyone with compassion and information. My objective is inspiring people and achieving great outcomes within your organization. I am excited to drive change within my students. Subsequently, enriching and guiding these individuals to become great leaders. I believe in an open door policy so they can interact with me concerning the subject material. It is important to have active discussions so everyone can grow and be able to accomplish the assignments for the week.
Personal Statement : I believe strongly in improving educational outcomes to enhance the healthcare future for every generation. I agree with a mission in improving learning results for everyone with compassion and information. My objective is inspiring people and achieving great outcomes within your organization. I am excited to drive change within my students. Subsequently, enriching and guiding these individuals to become great leaders. I believe in an open door policy so they can interact with me concerning the subject material. It is important to have active discussions so everyone can grow and be able to accomplish the assignments for the week.


text:
Nuksora () falu Romániában, Erdélyben, Hunyad megyében.

Nevének eredete
Neve román eredetű, a nucșoara szó 'diófácská'-t jelent. Első fennmaradt említése 1394-ből származik, Noxara alakban.

Fekvése
A Hátszegi-medence déli peremén, a Retyezát-hegység északi lábánál, Hátszegtől 18 kilométerre délre fekszik.

Népesség

A népességszám változása
1900-at nem számítva, amikor ideiglenesen ruszin, német, magyar és szlovák erdőmunkások  duzzasztották fel népességét, a modern népszámlálások során 1890-ben írták össze Nuksorán a legtöbb lakost, 1028 főt. 2002-ig lakóinak száma ennek majdnem harmadára, 348 főre apadt.

Etnikai és vallási megoszlás
 1880-ban 1021 lakosából 995 volt román és 24 egyéb (cigány) anyanyelvű; 1017 ortodox és négy zsidó vallású.
 2002-ben 347 román és egy magyar nemzetiségű lakosa volt, akik közül 270 volt ortodox, 45 pünkösdi és 26 baptista vallású.

Története
Első említésekor, 1394-ben "szabad falu"-nak írták, de már 1404-ben a Kendefiek birtoka volt.

Látnivalók
 Torony nélküli ortodox templomát a legutóbbi időkig középkori építésűnek tartották. Újabb kutatások szerint azonban valószínűleg a 17. században épült, és az ódon hatású elemeket – a gótikus kapuzatot és a négyzetes szentélyzáródást – a Hátszegi-medence más templomairól másolták le építői. Belsejét a pitești-i Simion pópa festette ki 1779-ben.
 A nuksorai nárciszos rétek húsz hektáron terülnek el. A rétek dísze, a sárga és a fehér nárcisz májusban és június elején nyílik.

Jegyzetek

Források
 Adrian Andrei Rusu: Ctitori și biserici din Țara Hațegului până la 1700. Satu Mare, 1997

Hunyad megye települései


text:
Nel 1902 compì un viaggio in Groenlandia, impresa che replicò con una seconda spedizione nel 1906. Durante i suoi viaggi scoprì due fiordi, che battezzò Danmark e Hagen, ma morì nel corso della seconda spedizione.

Altri progetti

Collegamenti esterni


text:
Mixx Facebook Twitter Digg delicious reddit MySpace StumbleUpon LinkedIn Viadeo
Legal battle looms over Arizona immigration law
By the CNN Wire Staff
Mixed ruling on immigration law
NEW: Four men scale crane in downtown Phoenix and unfurl protest banner
Judge blocks police from questioning people's immigration status
SB 1070, as the law is commonly known, is set to go into effect Thursday
The state argues the federal government has failed to enforce immigration law
Phoenix, Arizona (CNN) -- A legal battle over a tough Arizona immigration law appeared certain after a federal judge granted a preliminary injunction Wednesday that blocked the most controversial parts of the law a day before it was to take effect.
The injunction means that, at least for now, police are prevented from questioning people's immigration status if there is reason to believe they are in the country illegally.
U.S. District Judge Susan Bolton also blocked provisions of the law making it a crime to fail to apply for or carry alien registration papers or "for an unauthorized alien to solicit, apply for, or perform work," and a provision "authorizing the warrantless arrest of a person" if there is reason to believe that person might be subject to deportation.
Arizona Gov. Jan Brewer said the state would file an expedited appeal to the 9th Circuit Court of Appeals, signaling a legal escalation that some expect will end up before the U.S. Supreme Court.
Ruling's impact
Toobin: What does Arizona immigration ruling mean?
Reactions to the Arizona immigration law injunction
Other parts of the law will go into effect Thursday as passed. This includes a ban on so-called sanctuary cities, and the criminalization of hiring day laborers who are in the country illegally. The parts of the law dealing with sanctions for employers who hire illegal immigrants also withstood the first legal test.
CNN senior analyst Jeffrey Toobin said the ruling reflects the government's argument that immigration enforcement should be dealt with at the federal level.
Video: Block just 'bump in the road'
Video: 'Too early to be happy'
Video: What's next for the immigration law?
Video: Supporter vows to go to high court
Arizona Immigration
"Arizona may have good intentions, they may be trying to make up for where the U.S. government has failed, but what the judge is saying is, this is not the way to do it.
"I think this a case very much destined for the Supreme Court," as other states pass similar laws, Toobin said.
Seven lawsuits, including one filed by the Department of Justice, are seeking to block implementation of the law, signed by Brewer in April.
Arizona state Sen. Russell Pearce, author of the law, said he foresaw a protracted legal fight from the beginning.
"I wrote it to go to the supreme court," he said before the ruling came down. "I'm begging for that fistfight at the Supreme Court. We will win in a 5-4 decision and finally settle this problem."
He added, "My message to the judge is uphold the Constitution. Uphold state's rights. This is a battle of epic proportions. This is the states versus the central government."
The Court of Appeals could take up the case in a matter of days, but the earliest the Supreme Court could look at it would be October, because the high court is in summer recess.
Brewer said that she was disappointed by the ruling.
"This fight is far from over. In fact, it is just the beginning, and at the end of what is certain to be a long legal struggle, Arizona will prevail in its right to protect our citizens," she said in a statement. "I am deeply grateful for the overwhelming support we have received from across our nation in our efforts to defend against the failures of the federal government."
She emphasized that Wednesday's action was a temporary injunction and that many other parts of the bill will go into effect as planned.
Another supporter of the law, Maricopa County Sheriff Joe Arpaio, said that he and his crusade against illegal immigration will not be deterred.
"I am not really disappointed about the judges decision," Arpaio said. "I know what my policies are, and we are going to continue doing what we have been doing."
The Center for Immigration Studies, which advocates immigration reduction, was disappointed but not surprised by the ruling, said Executive Director Mark Krikorian.
"If the opponents hadn't turned it into this bogeyman, it would have been a useful, if modest, tool for the police," Krikorian said.
He argues that the Arizona law wasn't intended to usurp federal authority.
"Arizona does not have its own immigration policy, even with the law. They are buttressing federal law," Krikorian said.
Arizona Sens. John McCain and Jon Kyl, both Republicans, also came out against the ruling.
"Instead of wasting taxpayer resources filing a lawsuit against Arizona and complaining that the law would be burdensome, the Obama Administration should have focused its efforts on working with Congress to provide the necessary resources to support the state in its efforts to act where the Federal government has failed to take responsibility," they said in a joint statement.
The Justice Department issued a statement saying the court "ruled correctly."
"While we understand the frustration of Arizonans with the broken immigration system, a patchwork of state and local policies would seriously disrupt federal immigration enforcement and would ultimately be counterproductive," the statement said. "States can and do play a role in cooperating with the federal government in its enforcement of the immigration laws, but they must do so within our constitutional framework."
While officials and their staff issued statements, a small group of activists in Phoenix expressed how they felt about Arizona's law in a traffic-stopping way.
Four protesters wearing hard hats and work boots climbed a crane high above the streets of downtown Phoenix and unfurled a banner that read "Stop Hate."
The banner also had a black mark through the number 1070. That was the number assigned to the immigration measure when it was introduced in Arizona's legislature as a bill.
Capt. Scott Walker with the Phoenix Fire Department called the four protesters experienced climbers and said they would be arrested when they came down.
Reaction to Wednesday's ruling on the Arizona law was not limited to the United States.
Applause erupted at a protest outside the U.S. Embassy in Mexico City when a speaker announced the judge's decision.
"I think it is a big victory, and it is the start of many more," said Sergio de Alba, president of the National Confederation of Workers and Farmers Organizations.
Minutes earlier, he had called on Mexicans to boycott products from the United States in protest.
Protesters attached signs to a gate in front of the Embassy, with one slogan saying, "Boycott Against Arizona-Nazizona, home of hunting migrants and the Ku Klux Klan."
Opponents say the law will lead to racial profiling, which is illegal. The government's lawsuit, however, didn't use that rationale in it's lawsuit. It argued that Arizona was usurping a federal authority.
Supporters point out that the law prohibits racial profiling and that people cannot be stopped and asked for proof of legal residence based solely on their looks.
CNN's Catherine Shoichet, Phil Gast, Adam Blank, Holly Yan and Arthur Brice contributed to this report.
Arizona immigration debate
Toobin: What does the federal injunction mean?
CNN's senior legal analyst Jeffrey Toobin says Arizona's immigration law will likely reach the U.S. Supreme Court.
iReport: Tell us what you think about immigration
We want to know how immigration affects your city and how people in your community are reacting to the Arizona law.
Immigration policies state by state
From January through June of this year, 46 states enacted more than 300 pieces of legislation related to immigration policy.
Key players in the U.S. immigration debate
A look at some of the key players behind the Arizona immigration enforcement law, and those trying to block it from taking effect.
CNN poll: Most Americans back AZ law
Most Americans support Arizona's new law on illegal immigration, according to a CNN/Opinion Research national poll.
Opinion: Reformers should listen to Arizona
Tamar Jacoby of ImmigrationWorks USA says critics and supporters of Arizona's immigration law need to find common ground.
Today's five most popular stories
Fine art from an iPhone? The best Instagram photos from 2014
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Inside North Korea: Water park, sacred birth site and some minders
10 top destinations to visit in 2015
What really scares terrorists


text:
Marc-Antoine Charpentier
À partir de CHF 14,16/mois
Langue disponible : anglais
Marc-Antoine Charpentier was long completely forgotten and then hailed in the late 20th century as a Baroque genius. He studied in Italy, but made his career in France, where he developed a style with both French and Italian influences, notable for its lyricism and penetrating psychological depth. Charpentier received relatively little acclaim during his lifetime. Charpentier was born in Paris, in 1643. In the mid-1660s, he traveled to Rome, where he spent three years studying with Carissimi and mastering the Italian style. Upon his return to Paris, Charpentier accepted employment and patronage from the powerful and pious Marie de Lorraine, known as Mademoiselle de Guise, last scion of the illustrious Guise family. He wrote La descente d'Orphée aux enfers, seven other musical dramas, and some large religious works for her. In 1672, already known for his religious music, Charpentier agreed to provide incidental music for Molière comedies. With astounding facility, the church composer wrote witty, charming, and delightful music in perfect consonance with Molière's comedic genius, as exemplified by the extraordinary score for Le Malade imaginaire. Nevertheless, church music remained Charpentier's primary vocation, and he steadily wrote masses, motets, hymns, and various other liturgical pieces. He won the favor of the King with a powerful motet, In obitum gallorum Reginae Lamentum, written on the death of Queen Marie-Thérèse, and was encouraged to compete for the position of sous-maître organist of the Royal Chapel. Unfortunately, Charpentier fell ill after advancing to the semi-finals and withdrew from the contest. King Louis gave him a pension as compensation. After Mademoiselle de Guise died in 1688, Charpentier found employment at the Collège de Louis-le-Grand, where his accomplishments included the Latin oratorio David et Jonathas, a dramatic masterpiece. His next post was at the Jesuit Church of St. Louis, where he composed music for various aspects of the Catholic liturgy. Charpentier was music teacher to Philippe, Duke of Chartres, and later the regent of France, for a period stretching over 1692-1693. At the end of 1693, Charpentier's Medée, a tragédie en musique, had its premiere at the Academie Royale. If the composer thought this extraordinary work would secure him a royal appointment, he was mistaken, for the audience seemed deaf to the music. In 1698, Charpentier became music master for children at the Sainte-Chapelle, remaining there until his death. Two and a half centuries later, millions heard the opening bars of his stunningly brilliant Te Deum (H. 146), selected as the Eurovision song contest official theme. A master of harmonic and melodic invention, Charpentier satisfies the three prerequisites for beauty formulated by St. Thomas Aquinas: consonantia (harmony), integritas (perfection), and claritas (brilliance). This quintessentially Catholic composer ingeniously resolved the perceived conflict between faith and pure beauty by creating music in which devotion and beauty cannot be separated. Indeed, musicologist Catherine Cessac captured the essence of Charpentier's music when she wrote that the "grandeur and originality of Charpentier's music is due to a combination of exceptional musical talent and deep faith, each complementing the other."
© TiVo Staff /TiVo Lire plus
© TiVo Staff /TiVo
François Couperin
7 album(s) • Trié par Meilleures ventes
The Best Organ Works of Classical Music, Vol. I
Classique - Paru chez Adagio le 4 janv. 2016
À partir de CHF 7,99
Brass Classics
Classique - Paru chez ClassicalPirosDigital le 29 juin 2015
À partir de CHF 12,99
Charpentier - Baroque Splendor
Classique - Paru chez UME - Global Clearing House le 4 nov. 2020
Louis XIV à Versailles
Marc-Antoine Charpentier, Jean-Baptiste Lully, François Francoeur, Michel-Richard Delalande
Classique - Paru chez Adessias Music le 9 déc. 2022
Une mystique de l'ombre
Florence Boeuf-Albert, Franck Marcon
Classique - Paru chez VDE-GALLO le 15 mai 2012
La Mejor Selección de Música para tu Boda
Classique - Paru chez Piros Comercial Digital le 5 oct. 2014
M.-A. Charpentier : Canticum ad Beatam Virginem Mariam...
Classique - Paru chez Alia Vox le 25 août 2014
Choc de Classica
5 de Diapason
Ce splendide album que Jordi Savall et ses musiciens consacrent à Marc-Antoine Charpentier est le fruit d'une compilation d'enregistrements réalisés e ...
Adessias Music
ClassicalPirosDigital
Piros Comercial Digital
UME - Global Clearing House
VDE-GALLO
Au cours des trois derniers mois


text:
Miklavec je lahko:

 Miklavec, priimek več znanih ljudi
 Miklavec, naselje na Hrvaškem


Creative companies account for around 4.5% of the EU economy. How does the cultural sector attract investment and help developing territories?
Ragnar Siil, an expert on the creative and cultural sectors, explains how this works and shares experience from Estonia. He started working with the EU-funded "Culture and Creativity" programme to support the cultural sectors in Eastern Partnership countries.
Why does culture matter? Why should government pay more attention to it?
Culture is a source of economic growth and new jobs. Policy-makers should start looking at it not simply as entertainment, but as a source of employment. Our reports say that culture can add value to other spheres, such as tourism and business. Culture and nature are the main motivations for tourism.
Culture helps improve living environments for both locals and visitors in parks, cafeterias, business centres, residential areas, third places, and on the streets. Looking at typical post-soviet cities, you might get the impression that the most important part of city life is not people, but cars; the people are underground, pushed aside.
Culture regenerates cities. There are a lot of vacant industrial and military buildings. Artists can give them new life. An example is the Art-zavod Platforma, which was transformed from a factory area to an art and co-working space. This kind of repurposing is very popular in cities like Tallinn, Liverpool, Madrid, and Barcelona. After the collapse of the coal industry in Liverpool in the last century, lots of industrial buildings were abandoned; culture made them popular again. The arts can actually contribute to increasing property values in these places by making neighbourhoods more attractive to investors. This sometimes has a negative effect too: artists come to these neglected places and transform them, but the rising prices make it too expensive for those same artists to continue living there, so they leave. This is called the 'Soho effect' after a neighbourhood in New York City, which was once popular with artists but whose rising popularity made it so expensive that artists could no longer afford to live there. So, culture is like an engine for development.
Culture is especially important now for creating social cohesion. It is a tool for integration, which helps solve all types of social challenges. How to activate people with disabilities and special needs, or bring together people with different backgrounds?
Culture is the space where people come together. In many European countries, like Estonia, libraries are creating programmes for migrants, giving them the opportunity to attend cultural events, support groups, or language courses to help them better integrate into the community.
What share of the EU economy does culture make up?
First you must understand the difference between 'creative industries' and the 'creative economy'. Creative industries represent how much economic activity is taking place within cultural sectors. Creative companies account for around 4.5% of the EU economy. It's a big share.
The other piece is the creative economy, where other sectors use culture to improve their own business. For example, design is an important element in the automobile manufacturing industry. Skoda, Kia, and Porsche gained a competitive edge thanks to talented designers. But you cannot calculate the exact value of design in that industry. So the economic impact of culture is much bigger than 4.5%. This number is just the small portion of the economy for which we can directly calculate the impact of culture.
Just give you an example: A city organises festival. All the revenue that this festival earns is within creative industries (the people they employ, the tickets they sell, the services they provide). Those earnings may not be a huge amount in the context of the economy as a whole. But because of that festival, thousands of people may travel to that city. They eat at local restaurants, buy from shops, use transportation, and stay in hotels. That's money, money, money. It is not calculated within the cultural and creative sectors, but this festival may generate millions for the city when all the spin-offs are considered.
That is the difference between the direct and indirect impact of culture.
What are some local examples of successful cultural projects?
I always use the example of my home city. It's a small Estonian city called Rakvere with 15,000 residents. The local government has invested in culture and creativity over the years, and now it is one of the most famous cities in Estonia. The municipal government put money into designing a unique central square. It's a surreal design with big mushrooms all over the place. It became so popular, that the municipal government managed to raise money from businesses located near the square, and invest it in new buildings and infrastructure.
The government is always coming up with crazy ideas to attract more visitors. The city is famous for a traditional music festival. So they transformed it into a punk music festival. For two days, thousands of people arrived in town wearing leather. Estonia is also famous for folk dance festivals. Rakvere decided to restrict the dance festival to men only. It was very funny.
An Estonian from Rakvere became a famous sumo wrestler. So the city applied to host the sumo championship. It was only the second time in history that a sumo world championship took place outside of Japan.
These kinds of crazy ideas attract attention and investment and can make a small city global.
Part of the Culture and Creativity programme is conducting research and providing recommendations to policy-makers. Could you share some recommendations for Ukraine?
We have already generated a number of reports across the Eastern Partnership. Our experts from the United States and Lithuania looked at the legal environment in Ukraine and recommended establishing contemporary museum and cultural heritage systems in the country (which do not really exist at the moment). Part of this is improving management skills. We found a lot of problems in the ways museums are managed, including programming, communications, and sales. These elements could be managed much more effectively.
Our main recommendations to the Ukrainian government are focused on solving these issues by reforming museum laws. There is a need for clear rules across museums, including rules on appointing museum directors. Ukraine also needs to invest in the digitalisation of its cultural heritage.
At the museum level, staff should be better trained. They tend to be knowledgeable in their areas of expertise, but they often lack management skills or an understanding of how to attract new audiences.
To bring in younger people, museums need more attractive programmes, interactive activities, and effective promotion. Museums need to start providing better services. It's not just about ticket sales. There should be cooperation with businesses and tourist organisations.
What was Estonia's experience in reforming its cultural heritage practices?
Estonia went through this process 15 years ago. Last year, Estonian museums had 3.5 million visitors, and there are only 1.3 million people living in the country.
The government has invested a lot in its museums. The museums are now run professionally, they offer many special services, and they have world-class programming.
The maritime museum in Tallinn is the most popular museum in the country with 420,000 visitors per year in a city of less than half a million people. Just imagine such a small museum in a small city getting half a million visitors! A full ticket costs €14, which is quite expensive, so why do people pay?
It's a kind of cycle of benefits. If you invest in services and innovative solutions, people want to come to the museum and they will pay relatively high ticket prices. Those revenues are then invested into better services to attract even more visitors.
In Ukraine, things tend to work the opposite way: museums don't have the money to promote themselves or offer quality services, few people come, tickets prices have to stay low, the museums don't earn money, and don't have anything to invest.
So what Estonia did was invest in the development of the cultural sector?
Yes. We organised training and made investments, but the biggest change was in attitude. In Estonia, we turned almost all cultural institutions into private foundations; they are government-founded, but run by business managers. This puts more of the responsibility for success back on the museum, since they can't merely rely on government money, they have to earn it themselves.
So a turn to business-minded thinking was the most important part of these reforms.
What is your advice to people working in the sector who want to develop profitable cultural projects?
I think it is not so much about being profitable, as about being impactful. If your project can really make a change, it will raise money. In Ukraine, you have quite a lot of creative initiatives supported by businesspeople; it's not about money. First of all, you should have a good idea of what kind of impact you want to make.
You should have a business mind-set and have the ability to reach your audience. Sometimes artists think that it is enough to simply create art. But if you can't get the results of the project to the public, then it's only halfway successful. You should have communication skills and a clear communication plan. You should effectively use social media to reach young people.
You should speak English. After all, how on earth will you be able to get involved in European networks without it? I still encounter many people who don't know the language.
So, invest in your skills, be active, and take advantage of opportunities when they arise.
Where can these opportunities be found and how can people participate in European cultural projects?
Our programme's website has lots of materials, tools and announcements: www.culturepartnership.eu.
But the most effective way to get involved in European cultural projects is to get to know the European networks. If you are singer, go to music festivals. If you are museum manager, go to the European museum awards. Be there. Go to conferences and develop contacts. That's the way to get partners for joint projects.
We are grateful to the Evropeiska pravda for cooperation in publishing this material.


VISUM isnt just another software its an active project participant in your entire management process. VISUM automatically measures your schedule risk over the entire life of the project and lets you know whenever youre off track. VISUM is an early warning system that lets you know about production slowdowns so that you and your team can focus on the most important tasks first.


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Tyler Perry net worth 2022: Parents, Wife, Biography, Height, Age
Who is Tyler Perry?
Tyler Perry (born Emmitt Perry Jr., September 13, 1969) is an American actor, director, producer, and screenwriter. In 2011, Forbes put him on the list of the highest-paid men in the entertainment industry. Earning $ 100 million between 2010 and 2011.
Tyler Perry is an independent head tycoon. He composed and co-produced his first play called I Remember With Bees Changed in 1992 Melodic was revived twice to make the first shows
In 1998, he finally succeeded in drawing African-American crowds in front of Forbes Tyler. He sold more than $ 20 million in stock, $ 30 million in films, and $ 100 million in tickets
In addition, his 300-year stay shows he employs 35,000 people every year.
He composed and launched her first film Diary of Mad Black women In 2005. The film received successful research by professionals earning $ 50.6 million in the workplace
in the accompanying film, Perry played the name of his character Madea Later, the man was repeated within the established films of Madea
With the launch of the film, Tyler Perry came to a very wealthy man by acquiring ownership of all his drives.
Real Name Emmitt Perry Jr.
Full Name Tyler
Marital Status Not known
Partner Name Gelila Bekele
Age 53 years old (2022)
Height (Approx.) 6' 5" inches
Weight (Approx.) 102 kg
Measurement(Approx.) Not Known
Eye Colour Dark brown
Date of Birth 13 September 1969
Birth Place New Orleans, Louisiana, U.S
Zodiac sign Virgo
Ethnicity African-American
School Name Not Known
Qualifications Not Known
Father Name Emmitt Perry, Sr.
Mother Name Willie Maxine Perry
Siblings Name Not Known
Source Of Income Acting
Appeared In Movies and Theatre
Net Worth, Salary Not Known
Read: Todd Tucker Net Worth And Biography 2021
Tyler Perry net worth an estimated $ 1 billion in revenue since 2022. He has earned all his wealth in his name within the world of entertainment. In addition, he gets a ton of posts from his video-on-request transporter wager + and his Tyler Perry Studios in Atlanta, Georgia
according to Forbes, Perry's $ 60 million websites come from his own speculation + alone His studio costs $ 280 million.
He is the son of EmmittPerry Jr., who worked as a carpenter, and Willie MaxinePerry, who was also a carpenter. He has more than one child as he has three siblings of his own. The father would beat him up when he was a child and would often turn to the church to seek peace and refuge.
Even though he never graduated from high school, Perry still earned his GED. His father was always too much on him, but in any case, he succeeded in obtaining the GED.
It was his contact with The Oprah Winfrey Show that made his writing career possible. Without that connection, he'd be just another writer who was not discovered because of a lack of talent or drive.
Tyler Perry is the father of Aman Tyler Perry. Aman is the son of Gelila Bekele, the girlfriend to Perry. He married model Georgina Chapman in 2006, and together they have three children.
Their firstborn, Kai, was born in 2004, and their second child, daughter Iman, arrived in 2010. He's not only a Christian, but most of his movies have Christian themes.
Tyler Perry was born on September 13, 1969, and he is 53 years old today. His height is 1.96 m tall and he weighs 85 kilograms.
Full Name Shawn Corey Carter
Birthplace New York City, U.S.
Father Adnis Reeves
Mother Gloria Carter
Media Award, The BET Honors (2009)
Chairman's Award, NAACP Image Awards (2010)
Outstanding Direction in a Motion Picture, NAACP Image Awards (2011)
Favorite Humanitarian, People's Choice Awards (2017)
Tyler Perry's Net Worth Estimates Year Wise.
Year Net Worth
2021 $950 million
Diary of A Mad Black Woman (2005)
Madea's Family Reunion (2006)
The Family That Preys (2008)
Madea Goes to Jail (2009)
Why Did I Get Married Too? (2010)
Madea's Big Happy Family (2011)
Madea's Witness Protection (2012)
Alex Cross (2012)
Boo! A Madea Halloween (2016)
Tyler Perry's Acrimony (2018)
A Madea Family Funeral (2019)
A Fall From Grace (2020)
Read: You Will Not Believe How Much Money Mr. Beast Made In 2021
Tyler Perry Social Media
FAQ More About Tyler Perry Wiki
Q. 1 Who Is Tyler Perry?
Ans. American actor and Producer.
Q. 2 Who Is The wife Of Tyler Perry?
Ans. Gelila Bekele.
Q. 3 How Many movies Are Done By Tyler Perry?
Ans. In many movies.
Q. 4 What Is The Official Account Of Tyler Perry Instagram?
Ans. Instagram
Q. 5 What Is The Networth Income Of Tyler Perry Yearly?
Ans. not known.
Q. 6 What are the upcoming Show/movie of Tyler Perry?
Q. 7 How old is Tyler Perry?
He is 53 years old.
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Jerry Seinfeld Net Worth & Biography 2022
Tom Cruise net worth 2022: Parents, Wife, Biography, Height, Age


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The Lowdown on Lockdown
We ask a sampling of network technology leaders how they make their systems secure.
By RS Staff
Published: August 1, 2018 ⋅ Updated: April 15, 2019
Even if you didn't read last issue's cover story on cybersecurity (but really, why didn't you? It's online — complete with a summary video if you don't want to read the whole piece. Check it out), you know that keeping your customers' networks both robust and secure is of paramount importance.
You are not the only one who knows that – network manufacturers are keenly aware of this, too. We reached out to a few technology leaders and asked them how they make sure their products work flawlessly for their users – and only their users. Their answers may come in handy the next time your customers ask about how secure their system is.
Networking Case Study: Using Open Mesh to improve WiFi
Savant recently unveiled its Central Management cloud-based integrator tool (accessed by mobile device, PC, or Mac) that delivers secure access to every Savant deployment, according to the company. This includes software revision tracking, remote diagnostics, time/date stamped systems logs, host maintenance and configuration capabilities.
At the core of Savant Central Management is the capability to protect the integrator and their clients with permission-based secure access. With Savant Central Management, integrators can create internal access tiers – allowing limited access to a client's home and data.
When asked for a further explanation, a Savant company spokesperson offers: "Network resiliency and security are two core fundamentals of the Savant Cloud Services (SCS) that power remote connections to our systems. Each API request to Savant Cloud Services (SCS), the Savant host, and our Pro 8 app utilizes encryption to ensure all communications and data transmissions are secure across internal and external networks. This is true for all Savant cloud communication regardless of transport methodology. In addition to encryption, all cloud requests are authenticated and we use multiple authorization schemes depending on the origin of the request. All passwords use one-way encryption and salting prior to being stored, and we never keep or use plain-text passwords anywhere. We also use third-party penetration testing to locate issues and security monitoring software to continuously monitor for malicious or unauthorized behavior."
Access Networks
From Access Networks comes Access Networks Wireless – a new product line of access points and a wireless controller, powered by Ruckus, plus the addition of custom Core Systems. This system, according to Haley Patterson, director of business development at Access Networks, gives "integrators an excellent opportunity to enhance their projects with a range of enterprise-grade networks that both better secure and support tech-centric residential environments."
On the cybersecurity front, Core Systems include one year of proactive Access Networks Live Monitoring service, which gives integrators the opportunity to generate recurring monthly revenue and exceed their clients' expectations with a high level of proactive customer service where the Access Networks team is the first line of defense.
Access Networks' price points are also now more accessible. "While understanding price point is certainly (still) driving the conversation, it shouldn't be the motivating factor in the final buying decision," adds Patterson. "Meaning, the integrator's role in being a solutions provider is to make the right decisions about the gear being sourced and integrated so as to always provide the right product for the project. Performance and security must remain top of mind and at the forefront of every AV installation. That's why Access Networks has introduced Core Systems, a solution that provides enterprise-grade standards at a lower entry cost that can scale with the needs of the homeowner."
Depending on the size and design requirements of the home, Control4's Pakedge offers a variety of networking solutions that are designed to meet the requirements of every size connected home. For small homes that may have a small footprint but still require heavy bandwidth and streaming support of several IoT and mobile devices, Control4 recommends the WR-1 wireless router as the right solution. For medium to large homes, Pakedge delivers the complete network platform, consisting of the RK-1 router, SE Series unmanaged and SX Series managed switches, dual-band 802.11ac WK Series access points, and PowerPak 9 power distribution unit with built-in power surge to deliver what the company calls a "fast, reliable, and robust network."
But how does it handle cybersecurity?
A statement from the company recommends the integrator takes precautions when setting up the system, but also offers their own solution: "For Control4 dealers, the ability to remotely manage and monitor their customers' networks is equally important to deploying a robust network. Pakedge delivers the remote management and monitoring platform BakPak, which helps dealers proactively manage, monitor, configure, and troubleshoot all of their customers' networks. BakPak is built into multiple Pakedge products at no additional cost, so it's easy for dealers to delivery on any project. With BakPak, dealers can receive real-time alerts when problems occur, remotely power cycle devices, and efficiently troubleshoot a problem before a homeowner even realizes there was a problem."
One of Luxul's latest product is its Epic 5 router (ABR-5000), which is now shipping and includes Domotz remote management software. With the Domotz technology, integrators receive alerts when network issues arise, allowing them to take immediate action. The Epic 5 also shares the device information with Luxul's support team to assist in troubleshooting. According to the company, "The router also eliminates the need to purchase a separate Luxul Domotz Pro for remote management. This lowers network costs and speeds setup, improving the bottom line for integrators while providing a better experience for their clients."
The Epic 5 also lets the user play a part in the system's security – the Router Limits feature offers cloud-based controls for internet safety and management, giving users complete control of every aspect of their internet experience, letting them manage screen time, filter content, and track browsing history. Router Limits users can also control mobile devices' access to the internet when they leave the home network.
WhyReboot
When we asked WhyReboot's president Bjørn Jensen for a comment on his system's security, he had plenty to say:
"The bad guys continuously evolve, and so do we. This is why we have trusted SonicWALL as our go-to network security appliance. More than just a router, SonicWALLs are singularly focused at protecting against threats from outside and inside of the network. Over the years, our engineering teams have worked tirelessly to ensure that our partner's networks have just the right amount of security to protect against the vast majority of threats without causing a restricted end-user experience.
"Additionally, we highly recommend to our partners that they never open ports on the firewall, though we maintain and support these systems as needed. If asked to open ports, we first carefully review the written request and then check the desired effect against Computer Vulnerabilities and Exploits (CVEs). Typically, we recommend against opening ports in favor of using a secure VPN service instead, and most of our partners have the savvy and experience to heed our warnings. As a result, when thousands of camera systems were hacked a few months back, most of our partners were unaffected."
Tags ⋅ Cybersecurity ⋅ network ⋅ Networking ⋅ Security
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Arden Park public hearing set for Oct. 26
Nate Gotlieb / [email protected]
Updated: October 23, 2017 - 11:11 am
The Minnehaha Creek Watershed District Board of Managers will hold a public hearing Oct. 26 on a plan to restore the creek in a section of Edina.
The board will take comments on the plan, which calls for the removal of a four-foot dam at 54th Street and the re-meandering of the creek as it runs from 52nd Street to 54th Street through Arden Park. The plan also calls for a new multipurpose shelter building, new access points for fishing, new walking trails and potential new bridges.
The Edina City Council approved the plan on a 4-0 vote last month after significant discussion within the community. Supporters argued that the plan would help create a more sustainable environment and allow more people to enjoy the creek. Opponents argued that while there are some good aspects to the plan, removing the dam wouldn't be worth the money or disruption to a resource people enjoy in its current form.
"To me it's a very special pocket of Edina that's unique," resident Martin Freeman said at a public hearing on Sept. 6. "You have to realize that bringing bulldozers, re-engineering that, putting walkways in will change that forever."
The project originated with a 2014 memorandum of understanding between Edina and the Watershed District. Under that memorandum, the city and Watershed District examined options for removal of the dam, in conjunction with the 54th Street bridge-replacement project.
Edina authorized a memorandum of agreement with the Watershed District in August 2016 that established a framework for jointly developing a concept plan for Arden Park. The process to develop the plan included three community meetings, two Parks and Recreation Committee meetings, a City Council work session and two ad-hoc meetings.
The City Council was supposed to hear the plan in June, but that was delayed until August. The council in August decided to hold a public hearing before voting.
According to the Watershed District, the dam has altered the ecological function and value of the creek system by removing a mile of habitat for spawning and forage for fish below. It also leads to warmer water temperatures, which increases algal growth and the accumulation of decaying vegetation and it creates an unhealthy environment for fish and the in-stream insects they eat.
"The dam essentially creates a lake system, if you will, behind it," Planner-Project Manager Renae Clark said. "Removing the dam restores the function of a creek system.
The proposed project would improve the stream's habitat and health, treat more stormwater and decrease phosphorus runoff, according to the Watershed District. The concept design indicates that about 90 trees would be removed and re-used during construction, though Watershed District staff aren't sure on the exact number.
Community benefits would include the new multipurpose building, multiple access points, buckthorn and invasive species management and new bridges, trails and sidewalks, according to the Watershed District. The project would also result in the park being drier and having more usable green space.
Before voting, Edina City Council members talked about how the proposed project aligns with the city's goal to be a good environmental steward. The council members said they recognized the disruption the project would cause but that the ecological and recreational benefits would outweigh that.
"On balance to me, it's more important to do this than not to do it," Mayor Jim Hovland said. "… If we improve the creek, the benefits to our town will be priceless."
He and others said they want the residents to be involved on key issues going forward.
The project is projected to cost just over $4 million. The draft-funding plan allocates approximately 40 percent of the costs to the city, 40 percent to the Watershed District and targets 20 percent in outside funding grants.
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Home Campaigns Child Prisoners Israeli military court extends detention of Palestinian child prisoner, son of man...
Israeli military court extends detention of Palestinian child prisoner, son of man injured by Israeli medical negligence
Child Prisoners
Medical Abuse and Neglect
On Thursday, 19 October, the Salem military court extended the detention of Anas Hamarsheh, 17, from the village of Ya'abad near Jenin, until next Tuesday, despite his need for ongoing medical care, said his sister Laila Hamarsheh to Wattan TV.
No charges have been issued against the boy, who was seized on Sunday, 8 October in a pre-dawn raid in which Israeli occupation forces invaded the family home. However, his sister stated that "we have learned that the arrest took place in the context of stone throwing." Stone-throwing charges are some of the most frequent allegations used by the Israeli occupation when jailing Palestinian child prisoners, who overwhelmingly report experiences of threats, abuse, beatings and other forms of physical and psychological torture under interrogation.
Anas, a high-school student, is held in the Jalameh/Ketziot interrogation center at present. He suffers from osteonecrosis of the hip and requires treatment; he is in danger of losing his ability to walk. One leg is shorter than the other and he has difficulty running or playing sports; his leg is also at risk of infection.
He is the son of former prisoner Adnan Hamarsheh, who spent 11 years in Israeli prisons; Anas' mother, Reem, was also imprisoned for eight months. His parents noted that they told the occupation forces when they took their son that they bear responsibility for any consequences from the arrest of Anas, as he urgently needs physiotherapy and other treatment as well as a special diet.
"Since his arrest, Anas has been transferred to the Jalameh interrogation center by the Israeli occupation. After several days in detention, the Israeli occupation extended his detention for eleven days. He is in a very tough condition now, based on my own experience in detention. His situation is contrary to the fact that he is still a child and should be at school, and not in the interrogation cells," said his father to the Palestine Information Center.
Hamarsheh noted that this issue has special significance to the family due to his own experience in Israeli prisons. He suffered a series of strokes on 17 February 2014 while under Israeli interrogation; after two days of hospitalization, he was returned to the prison. He was transferred several times between the hospital and the prison, losing vision and balance. He was not charged and was instead ordered to six months in administrative detention. Since that incident, he has used a wheelchair due to his balance problems and difficulty walking and has been denied the right to travel to receive medical treatment.
"The aggressions of the occupation would only increase our steadfastness in our land and our right to it. The occupation always seeks to break the will of all the families that believe in resistance to liberate Palestine," said Hamarsheh, noting that he sees the arrest of their youngest son as part of a systematic and ongoing attack on the family.
PA court acquits al-Araj's comrades: "A correct decision at an incorrect time"
21 October, Tunis: Freedom for Georges Abdallah


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DC's Stargirl - 2.10 'Summer School: Chapter Ten' Preview Images, Synopsis & Promos
By Outsiders,
October 6, 2021 in Entertainment News
Location:You Know Where You Are?!? You In The Jungle Baby!!
Interests:*Classified*
Courtney (Brec Bassinger) is left devastated after discovering a dark secret that Pat (Luke Wilson) has kept hidden from her. However, when they learn that Jennie (guest star Ysa Penarejo) may be able to help in their plan to stop Eclipso (Nick Tarabay), they're forced to put their issues aside as they set out on a road trip to find her. Meanwhile, Beth (Anjelika Washington) makes a shocking discovery about The Shade (guest star Jonathan Cake).
Amy Smart, Trae Romano and Cameron Gellman also star.
Sheelin Choksey directed the episode written by Taylor Steitz (#210).
Original Airdate: 10/12/2021