Details of Margaret's arrest in September 1867, indicated that she and her mother Ann, and probably also her sister, Mary Ann, were living in the same house in Clarence Street as the McGILL family when Margaret PRICE and Hannah McGILL were arrested and sent to Newcastle after the same court appearance. Mary Ann, the younger sister, wasn't mentioned at this date but there is little doubt that she was also sent to Newcastle after being arrested at the age of six in August 1869 nearly two years later.
In May 1871 both Margaret and Mary Ann transferred with the school to Biloela on Cockatoo Island. Both were still under the age of ten and on the transfer lists Margaret was recorded as as an eight-year-old and Mary Ann was recorded as seven. Both were confirmed as Catholic. These lists erroneously indicated that both girls were received in 18697 and this administrative error made at the time of the transfer further supported the extremely strong indication that they were sisters. While it can no longer be proven, it is almost entirely certain that they had been recorded as sisters in the Entrance Book as this had been the procedure used when other sets of sisters were admitted to Newcastle.8 This notation, which unfortunately no longer exists as it would have been recorded in the section of the Entrance Book that has not survived, would once have been recorded beside Mary Ann's name as she had been admitted last.
The identity of the sisters is still tenuous although it is believed that their correct parents have been identified, even though the family surname attributed to them is not the name by which they were eventually known. There is no registration for either Margaret or Mary Ann with the surname PRICE with a mother named Ann/e/ie. One reference that is believed to refer to their family has been located on the NSW BDM Index and this record has been viewed. Strength is given to this record being correct as no appropriate assisted arrivals of an Ann/e/ie PRICE or either of her daughters have been found before the arrest of Margaret in 1867.
Margaret and Mary Ann's father was unidentified in any reports as he was recorded as dead when Margaret was admitted to Newcastle in 1867 and no records for Mary Ann's admission have survived.9 It is thought that their father had died in about 1865 so, according to the procedure used for other girls, he would not have been named in the Entrance Book. It has not been possible to accurately identify him using either the NSW BDM Index or Trove but it is considered very likely that he was the man outlined below. There is also a very strong suggestion that this identity was assumed and that he was a Tasmanian transportee. This supposition may never be able to be proven.
In 1867 at the time of Margaret's admission to Newcastle, the Entrance Book identified that her mother was Ann PRICE. She was a widow living in Clarence Street, Sydney, who worked as a washerwoman.10 While the identity of neither Ann or her husband has been absolutely clarified, it is still believed that both sisters were legitimate as the constables of Sydney were very specific when they compiled their July 1867 list11 if they were aware of illegitimacy in those they named. It was stated on the birth registration outlined below that the parents of the girl believed to be Margaret had married in Hobart, Tasmania in 1849. It also must be considered that no marriage had occurred and that both the sisters really were illegitimate. By 1869 when Mary Ann was admitted to Newcastle, she was attributed the alias of ROOKE. It is considered likely that Ann, although she wasn't identified in court, was also using the surname ROOKE. It is believed that the surname ROOKE may have been a similar or mistranscribed surname as no evidence of anyone with this name can be confirmed in the NSW BDM Index or Trove. It is possible that an alias had been acquired from the man with whom Ann was living but it is unknown what surname had been used initially and whether the names were complete fabrications or whether there was some basis in reality for their use.
Newspaper reports about Margaret's court appearance indicated that by 1867 Ann had been the keeper of a brothel for about two years. Senior-sergeant WATERS deposed about the house and Margaret's mother, when questioned about keeping the brothel, stated that she had no other way of obtaining a living and suggested that she had operated a brothel since about 1865. This statement replicated that made by the constables in July 1867.
It is very interesting to note that appearances for Ann/e/ie PRICE begin to appear in Sand's Directory from about this date but it is unknown whether this woman was the mother of the Newcastle admissions. The Ann PRICE recorded as a laundress, was living in 306 Kent Street in 1867. She may have been living in Susan Street, Newtown, in 1866; was possibly in Richard Street, Newtown, in both 1868 and 1870; in 1870 she was possibly operating a boarding house in New John Street and may have been living in Ann Street, Balmain in 1871. From 1871 there are no clear entries in Sand's Directory for an Ann/e/ie PRICE until 1905. The occupation of laundress and the itinerant lifestyle would not be unusual in a woman who was in straightened circumstances and operating a house of ill-fame. If any of these women are references to Ann it would confirm the statements made by Senior-sergeant WATERS and again suggest an approximate year of death of about 1865 for the children's father.
Changing the given name of a child is a difficult change to maintain so it is believed that any birth records would still appear with the given names of Margaret and Mary Ann. Because an alternative surname was provided at the time Mary Ann was admitted to the school it may be that this surname was the that used by the family at the time the sisters were born. A search of all children named Margaret and Mary Ann born between 1860 and 1865 with a mother named Ann, Anne or Annie with any surname, identified no clear births or possible families with the exception of the record outlined below.
The 1860 birth and baptism of Margaret Millicent ROCK whose parents were John and Ann,28 is considered strong circumstantial evidence that the family has been identified. The baptism29 cannot be read on microfilm. This child was an appropriate age to match the elder of the two RICE sisters. The similarity between the surname ROCK and the alias ROOKE, attributed to Mary Ann PRICE in 1869, is clear. Margaret M. ROCK had been born on 22 April 1860, at Cumberland Street, Sydney. Her father was John ROCK who was from County Armagh, Ireland and who had been born in about 1818. Her mother was Ann LAHEY who had been born in Limerick, Ireland in about 1829. The couple stated that they had been married in Hobart Town in 1849. Margaret had one older brother as well as two older sisters who had died but the record was ambiguous as to whether the brother had died as well as the sisters.30 The very close association of the PRICE family with the McGILL family, who were known to have adopted completely different names to hide their convict past, does suggest that this may have been a possibility with the PRICE sisters too.
Further circumstantial evidence lies in the interesting advertisement placed in the SMH in July 1860, about three months after this birth. It is almost certain that Ann was the woman referred to in the advertisement.
NOTICE.—If ANN PRICE does not call and take away her goods left with me, they will be sold, to pay expenses, in seven days. Mrs. C. PRICE, 138, Cumberland-street.
Ann PRICE had almost certainly resided with Mrs C. PRICE at this address31 in Sydney and while Cumberland Street is quite a long street, it was the birth location in April 1860 of the child Margaret Millicent ROCK.32 While the birth registration does not identify a street number, in 1861 Mrs PRICE operated a boarding house at 138 Cumberland Street on the corner of Long's Lane and it is very likely that this was where Margaret had been born.33 This very strong circumstantial evidence may indicate a link between Ann PRICE and Ann ROCK and therefore Margaret PRICE and Margaret Millicent ROCK. For this reason this 1860 birth registration has been linked to the Newcastle inmate.
now Mrs Waldic is gone to England and will be away at least twelve months. I don't think it prudent to leave the girl there. There is no grown female in the house.
It is unknown how this situation was resolved as further communications were not recorded in this bundle of letters. It is also unknown whether Margaret continued to attend the Protestant church, returned to worshiping at the Catholic church or whether the Sisters of Charity took care of her until a new apprenticeship had been arranged. It also must be questioned why Margaret was sent to a non-Catholic household and this was a further indication of the lack of care exhibited by LUCAS.
Mary Ann was six years old when she appeared in court charged with living with prostitutes on 10 August 1869.46 Her court appearance attributed to her the alias ROOKE,47 Mary Ann's admission to the school occurred on 12 August 1869.48 The page containing her family, religious, educational and discharge information is the first page of the missing section of the Entrance Book so has not survived. All her details have been attributed to her based on the statements made on the list of at risk children compiled in July 1867 and the admission details of Margaret, who was almost certainly her sister.
On 31 March 1875, Mrs Mary FLYNN of Randwick, applied for an apprentice to assist in domestic duties and specifically requested Mary PRICE.49 Selina WALKER, the superintendent replacing LUCAS, in her report on 26 April 1875, confirmed that Mary Ann had been apprenticed on 20 April.50 No details of her apprenticeship term or payment was included in the correspondence indicating her location. It is unknown how FLYNN came to request Mary as an apprentice but it must be considered that Mary Ann's mother, Ann, had played a role by seeking assistance from someone that she knew to have Mary Ann returned to a location near her.
No indication of Mary Ann's time after beginning this apprenticeship in 1875 has yet been located. It is unknown whether she completed the apprenticeship. In light of the likely use of the surname ROCK, investigations of Mary Ann ROCK need to be undertaken.
No record can be found that may suggest any gaol admissions for Mary Ann PRICE.
There are some illegitimate births that also may refer to Mary Ann but her name is so common that no record can confidently be attributed to her without proof of her age.
It is possible that she was involved in court appearances51 after her release but none of these have yet been confirmed and another woman of this name, who was a protestant born in about 1855 and for whom a gaol photo remains, also appeared in the Sydney courts.
Mary Ann may possibly have married William Thomas HARRIS in Sydney in 1878.52 When this woman died in 1909,53 only her surname was recorded on theNSW BDM Index. Some online trees identified that this woman was twenty-one when she married and had been born in Sydney in about 1857. Other trees indicate that she was nineteen and married at St David's Church, Surry Hills, on 6 September 1878.54 She was too old to be the Newcastle admission and while it is possible that she lied about her age when she married because she was under the age of twenty-one, because trees have identified her parents as Edward PRICE and Jane JORDAN who had married in 1856.55 Because a birth registration does exist for 1857 with these parents, this woman is considered unlikely. It is unlikely that Ann PRICE was Jane JORDAN when she married as these are no births for any other siblings.
2. Further investigations are being undertaken.


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John Cena On Why He Wouldn't Mind Missing WrestleMania This Year, Rumored Rey Mysterio Mania Match
John Cena spoke with Sports Illustrated while in New York City for the Nickelodeon Upfronts earlier this week. Below are highlights:
His WWE future and possibly missing WrestleMania 34 this year:
"I've got a ton of outside stuff going on, and I am proudly waving the banner of the WWE. Everybody always asks, on movie sets and even at the Kids' Choice Awards, 'When are you leaving?' I'm not. As long as my body holds up, I am WWE-proud all the time. With my schedule, it does mean I have to take breaks, because they don't allow you to do both.
"I'm fortunate enough to be in this spot right now, but it's not like, 'Thanks, WWE, for what you've done for me but deuces, I'm out and I'm never speaking to you again.' All things considered, with everything coming out, I wouldn't mind my contribution to WrestleMania this year being an absence. If that's my role in the story, I'll play it."
The WWE Title Six-Pack Challenge on Sunday and possibly breaking WWE Hall of Famer Ric Flair's record:
"Fastlane will be a special day if all goes well. I know I'm not supposed to speak about this, but going from two names to one name would be a pretty cool piece of conversation. I have all the respect in the world for Ric. We have a great rapport with each other, he was the first one to congratulate me when I won against AJ at the Rumble. It's looming, but this is the time where it may indeed happen."
Reports of him preferring a WrestleMania 34 match with Rey Mysterio after The Undertaker was ruled unavailable:
"Rey Mysterio is great. I'll say that, and that's what I can say about Rey.
"I have never asked for a WrestleMania opponent. If you look at what I've done in my WrestleMania entirety, from coming out at Safeco Field in a sweat suit rapping to two cardboard cutouts, to working with established superstars to working with rookies, to being fortunate enough to use the platform to ask a beautiful young lady to marry me. A lot of our performers get frustrated and ask, 'What can you do for me?' I just ask, 'What can I do for you?' They tell me, and I do it to the best of my ability. Even if it's no one.
"What a great story it would be for me to miss and have to buy a ticket. The year doesn't stop at WrestleMania, we do Raw the next night. Now imagine if this stalwart, this statue of the WWE now has to look inside himself and ask, 'Do I still have it?' after being left out of the biggest show of the year."
By Badrose Category: JOHN CENA , REY MYSTERIO

redpajama_set_name: RedPajamaCommonCrawl


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Watch Venus Williams' Epic Mic Drop On Dealing With The Press After Naomi Osaka's Decision
Williams commented after the 23-year-old chose to withdraw from the French Open.
Photo: Oscar J. Barroso / Europa Press Sports via Getty Images
Tennis champion Naomi Osaka has been receiving broad support after withdrawing from the French Open on Monday (May 31) for her mental health. However, the best response has been from Venus Williams.
"For me personally how I deal with it was that I know every single person asking me a question can't play as well as I can and never will," Williams said after her first-round loss to Russia's Ekaterina Alexandrova. "So no matter what you say or what you write, you'll never light a candle to me.
"That's how I deal with it. But each person deals with it differently," she added.
Prior to the highly anticipated French Open, Osaka announced that she would not participate in press interviews to preserve her mental health. She was fined $15,000 on Sunday (May 30) for not meeting the media interview requirements; the athlete also picked up her first win earlier in the day.
She posted a message on Instagram which explained to her 2.3 million followers her decision to withdraw from the French Open.
RELATED: Naomi Osaka Withdraws From French Open After Fine Over Not Speaking To Media
"The best thing for the tournament, the other players and my well-being is that I withdraw so that everyone can get back to focusing on the tennis going on in Paris," she wrote in the IG post. "I never wanted to be a distraction and I accept that my timing was not ideal and my message could have been clearer. More importantly, I would never trivialize mental health or use the term lightly."
Serena Williams also came to her defense on May 31 during a post-match news conference, saying, "I feel for Naomi. Not everyone is the same. I'm thick. Other people are thin. Everyone is different and everyone handles things differently. You just have to let her handle it the way she wants to and the best way she thinks she can."
Osaka is currently the world's No. 2 ranked women's singles tennis player. She won in the first round of the French Open, defeating Romania's Patricia Maria Tig.
Venus Williamsnaomi osakafrench opentennis0sports news


The charm of the women's Molly First Layer, lies in its attention to detail, exemplifying the production precision, signature of Toni Sailer designs. Featuring the iconic colours of the brand, the inset stripes of this base layer were designed down to the last millimetre, whilst the concealed zipper highlights the level of know-how and precision present in this garment. Breathable, moisture-regulating and quick-drying, this soft base layer is the versatile piece every skier needs.
This base layer fits true to size. If in between, we recommend to go up a size.


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Bringing Art to Life : A Conversation with Ella MacQueen-Denz on Her Recent Projects
Written by Miray Eroglu
Ella MacQueen-Denz's enchanting assemblages merge together life and art, fantasy and reality—embodying the impulsive act of creation. Inspired by the imperfection of everyday life, her moving, breathing drawings are cut apart, drawn over, and pieced together. Her paper puppets are held together, fastened with small pins, and a string which you can pull to change positions.
Ella records her daily impressions through writing and sketching in her journal, which informs much of her portraits and abstract landscapes. Some are also like family photographs, where Ella integrates a memory which can then be played with, adding words and sketches to the surrounding figures. While based on a human body, isolated forms, such as multiple arms, legs and other body parts, create a sense of expressive abstraction, which reminded me of the multi-media art of Dada artists, surrealist poses reminiscent of Leonora Carrington, Goya's sketches, and German photographer Hans Bellmer, as well as folk shadow puppets from the Balkans and Eastern European art traditions. Ella and I had a wonderful discussion about the inspiration behind art. Ella describes art as spontaneous, instinctual, and emotional; it is something personal that is later transformed into a finished piece.
Ella's commitment is to the process; while making art, this is the first space to explore. She generally begins with a drawing, building on her graphite sketch with paper, adding watercolor and color to her composition. Ella likes to work with essentials. While she makes art in her studio, she is very inspired by working with limited resources, such as when she was working from her tent this summer while tree planting.
There, Ella worked with scissors, paper, string and other found materials. She creates from anywhere, embracing unknown environments and working with new materials. She is also inspired by textile arts and traditions, knitting, and sewing; in fact, these interconnected mediums often inform each other in practice. "I love fashion and looking at fashion magazines," Ella says. While she enjoys working in textiles, she says she is also drawn to impulsive art—whereas fibre/textile work is very planned and specific to a time and place. While assembling, Ella also reacts to the organic shapes formed by graphite, such as when her hand unintentionally touches the paper. Ella says she rarely plans in advance, rather, watching the process take shape. She says, the "final product isn't important to me, but what is important to me is showing the process." Art provides a sense of calm, both to the artist, and to the viewer, who is swept away by creations. Making art is also a space of escape, where one looks to find peace and deeper connection.
Through whimsical, often fantastical poses, the paintings carry their own sense of nostalgia, yet are looking towards the future. They are like fantasies constructed from reality. They offer multiple perspectives in one picture plane; the figures are often in abstracted landscapes, evoking both the magical and mundane.
I first met Ella in Montreal in 2015. I remember she was knitting a red hat, and she has continued to create many lovely creations since then. I love to hear about Ella's journeys and artistic projects as we have kept in touch over the years. Ella is currently finishing her Bachelor's of Art from the University of Victoria, where she is majoring in English Literature. She always maintains an active art practice. She has also taken extensive courses in Germanic and Slavic studies at McGill University and in Berlin, Germany. Prior to beginning her studies at the University of Victoria, Ella earned a certificate from the Textile program at the Kootenay School of Arts in Nelson B.C. Following her dreams and passions, Ella is talented and skilled in many art forms including textile arts, mural painting, drawing, painting, and fashion. Her portrayals carry with them the interplay between mediums, often starting on the page and then coming to life. Both the interactive media and craftsmanship breathes life into the subject. Part of what makes Ella's compositions extraordinary is how organically fantasy merges with reality. Often, they operate together.
Ella's compositions explore identity and embodiment, serving as personal portraits of emotional states. In Waiting for the Bus (2019) Ella portrays a still with two people leaning on each other, supporting one another as they await the arrival of the bus. They are immersed in an enchanted landscape, and the figure in blue holds a doll. It is a familiar yet unfamiliar portrayal of the unknown, the dual states of hope and fear one can experience. Will the bus bring them home? Or take them somewhere else?
Waiting for the Bus, 2019, graphite, watercolour, Gouache on paper. 16 x 16". $500
In Ghosts (2020), Ella portrays an ageless nude woman, looking over her shoulder to spirits and animals, which are mainly anthropomorphic shapes, giving an illusion of full body but only pieces. The nude figure expresses vulnerability and naturalness, appearing also like a spirit, surrounded by supernatural creatures and forms. Two faces look out, one directly at the viewer, and the other into the distance. With age, clothing, and even hair, stripped away, the figures are reduced to their natural state of being. In her depictions, Ella portrays babies, children and adults. Ella says, "removing hair and clothing from [these] creatures makes them the most vulnerable...it is a state of reflection…[where one] is not afraid in that vulnerable space."
Ghosts, 2020, graphite and watercolour on paper. 10 x 10". $400
In Dreaming of Dancing (2020), a personal favourite of mine, graphite figures float across the page in swirls of motion and movement. The dark graphite shading against the white paper is a juxtaposition, and certain areas seem to be erased. At the foreground center, is a child in an arabesque pose and a maternal figure. Surrounding them are other figures which emerge, including a face looking out directly at us, and another dancer who blends into the background. The figures all occupy this abstracted space that is constructed by shape, line and form.
Dreaming of Dancing, 2020, graphite on paper. 13.5 x 10".
Love Poem (2020), evokes an inner feeling of safety and enclosure. At the center is a sketch of a figure outlined in red ink, curled up as if asleep. Emerging from behind the form is a leg and a foot; the leg can be moved and manipulated by a small gold pin. The oversized foot, also in red and gray tones, looks as if it is stepping over the page. The background space is composed of sharp edges, sketches, and words, transposed from Ella's diary. In the foreground corner is the shape of a dark man, gazing to the distance. Love Poem captures feelings of captivity, yet freedom, in a dreamscape that at times is nightmarish but is calm through the body of the dreamer. The toes touch the landscape, approaching and dipping into space, but bound to the body of the dreamer. Love Poem is evocative of how love bleeds into creative force, offering repose, respite yet also a departure to an unknown threshold, at times appearing dangerous, embodied by the multiple vantage points and sharp corners.
Love Poem, 2020, graphite, ink, watercolour on paper. 7.5 x 11". $250
The puppet form, Ella described, makes them also feel like "toys." Most of the paper puppets are portable, and can also be placed on the wall, in an open frame without glass or against a matte board, where the puppet has a string that can be pulled to activate the movement. You can manually change their positions and they can be re-assembled in many ways. This theatricality recalls cabaret and dance, with the actors constantly changing positions and costumes as they pass along the stage. Here, Ella's paintings and paper puppets occupy their own sphere. Transported from the imagination, and now in reality, the figures are brought to life, manipulated and assembled, creating new forms and shapes.
Ella's work also represents intergenerational dialogues and storytelling, which is present in her meaningful compositions and framing. Her sensitive and empathetic portrayals reveal her understanding and curiosity about the therapeutic processes of art, and reflect her interest in counselling and art therapy, which is something she is also interested in pursuing. For the past two years Ella has coordinated a drop-in art group at a local shelter. The diverse community she has found there is incredibly inspiring, and has shown her the therapeutic power of a safe place to be creative. This space is what she looks for in all of her creative pursuits, and urges her to provide that space for others as well.
Miray Eroglu holds a B.A. in Art History, French and Medieval Studies from McGill University and is completing her M.A. in Art History and Archaeology at New York University's Institute of Fine Arts. Currently she is an editor for Lapis Journal and an intern in the Islamic Art Department at The Metropolitan Museum of Art.
Find Ella MacQueen-Denz on Instagram at @ellaso_moves.


Doyle uses fabric as a metaphor to describe our individualism through shape, colour and pattern. From birth we are conditioned to view our environment in binary terms and thus see floral patterns and bright colours as being feminine and geometric shapes and dark colours as being masculine. According to Doyle he subverts these beliefs by surrounding the spectral figures in his paintings with a variety of material thus rendering each figure neutral. Furthermore, he brings the fabric into the physical space opening up a public discourse and allowing the viewer to readdress their ideology on identity. We are fortunate that we can interact and view these works by this talented painter as he continues the gender discussion in the public domain.
Doyle has wasted no time since his graduation from Crawford College Cork in 2017, where he received the 'Student of the Year' award with a solo show at the Lavit, Cork. Abroad he won both the Ashurst Emerging Artist Award, and the Sunny Art Prize. Most recently he was shortlisted for the Zurich Portrait Prize at the National Gallery, Ireland.


Each 155 Series kwik-ZIP® centralizer segment has an effective maximum coverage of approximately 6.1" (6.1" circumference). Each 380 Series segment covers a maximum circumference of approximately 14.96".
The tables below indicate the number of 155 Series and 380 Series kwik-ZIP® central segments required and the approximate setting position for various pipe diameters.
CAUTION: kwik-ZIP® centralizers should not be exposed to a naked flame or sparks from welding. Failure to shield the product whilst welding may result in ignition of the material or damage to the centralizer.
NOTE: Setting details shown are intended as a guide only. For casing and screen diameters not shown in the tables, use the formula outlined below to calculate the approximate setting position.
If the diameter of your casing is not listed on the above tables, the setting guide position listed for the diameter closest to that of your casing can be used as a guide. Alternatively, the following formula may be used to calculate the approximate setting guide position.
Step 1 - When you have established the appropriate setting guide position (see table), place the segments on a flat surface and insert the male section of each segment into the female coupling on the next segment, as indicated by the arrows in the above diagram (diagram shows 155 Series kwik-ZIP® Centralizer).
Step 2 - Line the leading edge of each female coupling up with the appropriate number on the Setting Guide.
Step 3 - Once all settings are set, they can be wrapped around the casing and the final joints can be fastened. This method allows the centralizer to be made up mostly by hand. The setting tool should only be required to tighten the last joint once the segments are fixed to the casing. It is recommended that this final installation occur when the casing is hanging in the mast.
NOTE: The setting tool locks in behind the reinforced tabs at the rear of the female coupling. Open the jaws on the setting tool enough to reach the nearest tool lug and tension the centralizer collars enough to ensure that they will not move on the casing. Do not over tension the collars.
Step 4 - If necessary, adjust the bow height before fully tightening the last two couplings. This can be done by changing the distance between the top and bottom centralizer collars. (The bow height is preset to 1.18"; however, a rigid spacer under each bow ensures that the bows cannot collapse to less than 0.59").
Step 5 - Once the centralizer has been tightened with the fastening tool, ensure that any excess length on the setting guide section of each segment is trimmed. This is easily done with a pair of tin snips or garden clippers and will ensure that the centralizer does not snag on formation when the casing is installed in the well.
NOTE: Snips are provided with the setting tool kit. The excess collar length should be trimmed as close as possible to the coupling.
Regulations regarding the use of centralizers vary between states; however, it is considered best practice to use one centralizer for each length of casing and screen. The Ground Water Well License / Bore License (if applicable) in many states also requires one centralizer for each length of casing.
This installation Guide applies to the 155 Series and 380 Series kwik-ZIP® centralizers. The 155 Series is recommended for casing with an outside diameter between 2.36" and 6.3". Although the 155 Series can be used on casings with an outside diameter above 6.3", it is recommended that the 380 Series be used for casings with an outside diameter above 6.3".
155 LT-D (1 3/16") 104° F 2" to 6"
155 HT-D (1 3/16") 176° F 2" to 6"
155 LT-E (2") 104° F 2" to 6"
155 HT-E (2") 176° F 2" to 6"


2 Hearts 1 Dress – Maternity Clothes to Make Every Woman Feel Beautiful!
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Buxton é uma cidade e estância termal do Condado de Derbyshire, na Inglaterra.

Possui termas de águas minerais e grutas com estalactites. A Buxton Mineral Water Company (de propriedade da Nestle) é uma das empresas que extraem e engarrafam a água mineral na cidade.

Famosos nascidos em Buxton
 Elizabeth Spriggs (1929–2008), atriz
 Robert Stevenson (1905–1986), diretor de muitos filmes da Disney, entre eles Mary Poppins

redpajama_set_name: RedPajamaWikipedia


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Q: Moving data from 1 class to another - same app Need real help here!!!
I am trying to use data created in 1st class within the 2nd class.  I have been searching Youtube and StackOverflow for over 1 week.  Every time I think I am close, there is some element missing that I can not grasp.  My latest attempt came from this site published in 2011 (Passing Data between classes objective-c) and while the application compiles, I can not see the data in the 2nd class.
More specific.  I am using 2 classes because the data is gathered in groups (1st class) selected by the user and will be displayed on-screen in a table within the 2nd class.  There are 6 NSMutable Arrays from the source passing to 6 different in the 2nd class. I will continue to try to solve, but I could use help.
Here is what I have devised from the 2011 article:
1st class .h code(partial):
#import <Cocoa/Cocoa.h>
#import <Foundation/Foundation.h>
#import "ReportsOutput.h"

//@class AppDelegate;

@class ReportsOutput;

@interface ReportsClass : NSWindowController<NSApplicationDelegate,NSMenuDelegate,NSWindowDelegate>{

    ReportsOutput *ro;

    //Shared Data arrays

    NSMutableArray *tblYrScott;
    NSMutableArray *tblYrExt;
    NSMutableArray *tblYrYear;
    NSMutableArray *tblYrType;
    NSMutableArray *tblYrPrice;
    NSMutableArray *tblYrDescription;

...... added code

@property(nonatomic,retain)NSMutableArray *tblYrScott;
@property(nonatomic,retain)NSMutableArray *tblYrExt;
@property(nonatomic,retain)NSMutableArray *tblYrType;
@property(nonatomic,retain)NSMutableArray *tblYrYear;
@property(nonatomic,retain)NSMutableArray *tblYrPrice;
@property(nonatomic,retain)NSMutableArray *tblYrDescription;

1st class .m code:
- (IBAction)btnShowDataOutput:(id)sender {

    //pass data from Reports Class to Report Output Class

    ReportsOutput *objReportsOutput = [[ReportsOutput alloc]init];

    [objReportsOutput.tblScott setArray: tblYrScott];

    [objReportsOutput.tblExt setArray:tblYrDescription];

    [objReportsOutput.tblYear setArray:tblYrYear];

    [objReportsOutput.tblType setArray:tblYrType];

    [objReportsOutput.tblDescription setArray:tblYrDescription];

    // open Reports Output Window

    if (ro == nil){

        ro = [[ReportsOutput alloc] initWithWindowNibName:@"ReportsOutput"];

    }

    [ro showWindow:nil];
}

2nd class .h code:
#import <Cocoa/Cocoa.h>
#import "ReportsClass.h"

@interface ReportsOutput : NSWindowController{

   //shared data arrays
    NSMutableArray *tblScott;
    NSMutableArray *tblExt;
    NSMutableArray *tblYear;
    NSMutableArray *tblType;
    NSMutableArray *tblPrice;
    NSMutableArray *tblDescription;

}

@property(nonatomic,strong) NSMutableArray *tblScott;
@property(nonatomic,strong) NSMutableArray *tblExt;
@property(nonatomic,strong) NSMutableArray *tblYear;
@property(nonatomic,strong) NSMutableArray *tblType;
@property(nonatomic,strong) NSMutableArray *tblPrice;
@property(nonatomic,strong) NSMutableArray *tblDescription;

@end

2nd class .m code:
#import "ReportsOutput.h"
//#import "ReportsClass.h"

@interface ReportsOutput ()

@end

@implementation ReportsOutput

@synthesize tblScott;
@synthesize tblExt;
@synthesize tblType;
@synthesize tblPrice;
@synthesize tblYear;
@synthesize tblDescription;

- (void)windowDidLoad {
    [super windowDidLoad];

}

-(void)awakeFromNib{

    [self dataCheck];
}

-(void)dataCheck{

    int a;

    for (a=0; a<[self.tblScott count]; a++){

        NSLog(@"@i,%d :%@: %@: %@: %@: %@: %@",a,[tblScott objectAtIndex:a],[tblExt objectAtIndex:a],[tblYear objectAtIndex:a],[tblType objectAtIndex:a],[tblPrice objectAtIndex:a],[tblDescription objectAtIndex:a]);

}
}

A: In btnShowDataOutput, you create objReportsOutput, but that object goes away as soon as the method ends.  You don't need to create objReportsOutput.  Instead, set the properties directly on the ReportsOutput window controller:
if (ro == nil){

    ro = [[ReportsOutput alloc] initWithWindowNibName:@"ReportsOutput"];
}

ro.tblScott = self.tblYrScott
ro.tblExt = self.tblYrExt
ro.tblYear = self.tblYrYear
ro.tblType = self.tblYrType
ro.tblDescription = self.tblYrDescription

[ro showWindow:nil];

redpajama_set_name: RedPajamaStackExchange


text:
The Cafe Metro Cafe. How not to lose money by allowing customers to set the price for coffee themselves
Coffee Cafe Metro Cafe from California's Santa Monica (one of the most expensive cities in the state) has offered its customers to choose how much they will pay for drinks and meals on the menu. About how the institution managed to maintain the previous r
Coffee Cafe Metro Cafe from California's Santa Monica (one of the most expensive cities in the state) has offered its customers to choose how much they will pay for drinks and meals on the menu. About how the institution managed to maintain the previous revenue, switching to a new payment model, tells The Guardian.
Metro Cafe is not much different from its competitors. Waiting for the order, visitors can sit at a table and use Wi-Fi. Barista institutions prepare espresso, makiato, cappuccino, latte and other drinks. At the same time, coffee prices and confectionery products are not indicated in the coffee shop menu - customers are offered to set the price themselves.
Customers evaluate the value of products differently. Ron Curti, one of Metro Cafe's regular customers, sometimes pays $ 2 for a latte on oat milk. According to him, he once paid $ 20 for an order, but more often he gives $ 5 for a drink. Once a visitor paid $ 104 for coffee, and one homeless often breakfasts at Metro Cafe for $ 1. Coffee shop for the sake of experiment launched this payment scheme in October last year. At Metro Cafe, 30 days were watched to see if wealthy customers could compensate for modest tips from poor or homeless coffee shoppers.
"In 30 days we reached (revenue - Inc.), which we collected earlier. So we continued. Only a small percentage of visitors tried to take advantage of this. We try to treat them with honor and respect. "
According to the owner of Metro Cafe, the revenue of the institution remained at $ 12.5 thousand per month. When the coffee shop only introduced a new payment system, customers asked what prices in the cafe were earlier. About 50% paid as much, about 25% of visitors paid more, and the remaining customers gave less.
Steve Snook is a pastor, and the cafe is part of his church. Community and cooperation, as well as assistance to the homeless, are important for him. In Los Angeles County, 58,000 people have no housing, and the life span of homeless people is only 48 years.
However, not all projects benefit from the pay-as-you-wish (PWYW) pricing model. So, the American restaurant chain Panera Bread transferred five establishments to PWYW, four of which were closed. The New York Metropolitan Museum in March will partially abandon this system and impose a mandatory fee for residents not from the state at $ 25 per entrance.


text:
The Khroma Bay (, Khromskaya Guba) is a bay in the East Siberian Sea, part of the Sakha Republic (Yakutia) administrative division of the Russian Federation.

Owing to is northerly location the bay is covered with ice most of the year.

Geography
The bay lies west of the Sundrun River region and east of the Yana Bay. It is open to the northeast through a narrow and straight channel and is  in length. Its maximum width is about  and it has a branch or inlet extending northwards midway between its mouth and its most inland shore point. The Omullyakh Bay lies north of the bay and shares the same mouth.

This bay is in the shores of the East Siberian Lowland, an area of wetlands; lakes and marshes dot the whole landscape. The  long Khroma and the  long Lapcha flow into the head of the bay from the south.

Fauna
Mammoths were common in this region during the holocene period.
In the summer the bay is a breeding and molting area for the lesser white-fronted goose.

References

External links
Location
Wetlands

Bays of the Sakha Republic
Bays of the East Siberian Sea
East Siberian Lowland


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These super steins have great color and graphics on them, and they are in mint condition. I'm throwing in a Christmas stein for good measure.


text:
Q: Passing a variable to an aspect I'm trying to measure metrics in my code using a combination of AOP and statsd. Particularly, I'd like a developer to be able to create a timer by just adding an annotation to the method, and specifying its name and tags, as below:
@Timed(name="executeHistoryDataSet", tags={dataSetInfo.getLabel()})
@Override
public String executeHistoryDataSet(DataSet dataSetInfo) throws DataServiceException {
    String results = executeDataSet(dataSetInfo);
    return results;
}

This would include information about the arguments as tags.  However, this is displaying an attribute value must be constant error, because the arguments of annotations must not be variable, which dataSetInfo.getLabel() definitely isn't.
It is desirable that a developer would be able to create a new timer without creating a new aspect and advice(@Timed would be the annotation for all timers), so is there any way that I could have this functionality, where I pass something like tags to the advice, but this can be not constant and differ from method to method?

Here is the annotation itself:
public @interface Timed {
    String name();
    String[] tags();
}

And its aspect:
@Aspect
public class MetricsAspects {

    private static final StatsDClient statsd = new NonBlockingStatsDClient(
        "my.prefix",                    //prefix to any stats
        "statsd-host",                  //often "localhost"
        8125,                           //port
        "tag", "another tag"            //tags always applied to stats
    );

    @Around ("execution(* *(..) && @annotation(timed)")
    public Object timeAround(ProceedingJoinPoint point, Timed timed) throws Throwable {

        String metricName = timed.name();
        String[] metricTags = timed.tags();
        long start = System.currentTimeMillis();
        Object result = point.proceed();
        long duration = System.currentTimeMillis() - start;
        statsd.recordExecutionTime(metricName, duration, metricTags);
        return result;
    }
}

A: A annotation needs to have its arguments known at compile time. Since at compile time it is unknown which Dataset object is given to this function whenever it is executed, the compiler throws the error.


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As a clinician, I've heard countless stories over the years from individuals who were going through some of the toughest times in their lives. By the time they get to me, most feel extremely overwhelmed and completely hopeless. Face it, people don't typically seek therapy if their lives are perfect. As a clinical social worker, I usually see people at their worse. When I first became a social worker, I used to become overwhelmed by the stories and would find myself pulling over on the side of the road to cry. Yet, I stuck it out and quickly learned to listen to the stories but hear the courage, perseverance, and strength. Since that time, each day has been a new adventure. I have met the most incredible people, I have seen and heard things that have changed my life. I could not imagine sitting at a desk crunching numbers all day or working in an emergency room with blood and gore all around me. I'm by no means knocking those professions, they're great – they're just not for me. I hate math and the thought of blood makes my stomach turn. I would make a horrible accountant and an even worse nurse or doctor. I've never balanced a check book, and I can recall every injury my son ever had due to the extreme panic and terror I felt at the time. Maybe in another entry, I'll tell you about the time he ran to me with a fork sticking out of his eye, I literally almost died. . .
When I was young, I had no plans on becoming a social worker. I was a secretary for years, and took business classes at a community college with plans of entering the business world – not the human service field. Yet, life intervened. I changed. My dreams changed. After a decade of being out of school, a new dream was formed -- I dreamed of becoming a social worker and helping others overcome life's obstacles. It was at that time I enrolled back in college and dedicated my life to social work and serving others. I admit it was not easy. I was terrified. However, I walked through my fear and went for it.
I can't tell you how many people come to me in their late 20's, 30's and even 40's miserable in their career but too afraid to change fields or to go back to school to follow their dreams of what they really want to do for a living. The most common excuse I receive for people staying stuck is their age. They believe they are too old to jump out there and try something new. The fear of being the oldest in the classroom can be scary, I agree. Yet, it's from walking through that fear that character and passion are nurtured and developed. My response to those who are stuck in fear has never changed over the years. It is not a text book answer nor is it something I learned from a social work training, it's simply common sense. We are all going to age, why shouldn't we be happy while doing so? If we have to work, why not work at something that brings us enjoyment?
While I was still finishing my degrees, I got pregnant with my son. I went to my social work mentor crying, convinced I had to drop out and give up on my dream of becoming a social worker. She looked at me with this perplexed look and simply asked, "Why?" I tried to make her understand that I was pregnant, there was no way I could finish schooling. Again, she simply responded with, "Why?" After a few minutes of this one sided conversation that consisted of me crying and hysterical while trying to convince her that my dreams were no longer possible, it finally hit me. WHY?! I did not have a valid answer. There was nothing that could stop me from reaching my dreams if my dreams were really what I wanted. From that point on, I moved forward with hope. I finished my BSW and MSW and have no regrets. It was not easy; those were probably some of the hardest years in my life. Yet I survived, my son survived, and I'm a better person for it.
I say all that to say, follow your dreams. Maintain hope. Believe that you can achieve, and you will! We are never stuck, despite how old we are, unless we choose to be stuck. I choose to be free. I choose to live my life in the manner that I want to live it. I choose to follow my dreams. I invite you to take this journey with me. . . freedom, peace, and success await you!


text:
Червона білопоясна порода — порода свиней української селекції м'ясо-сального напряму. Виведена вченими Полтавського інституту свинарства УААН ім. О. В. Квасницького. Затверджена наказом Міністерства аграрної політики України та Української академії аграрних наук № 324/47 від 14 травня 2007 року.

Історія виведення

Робота зі створення червоної білопоясної породи розпочалася у відповідності з Наказом міністерства сільського господарства УРСР «Про міри по прискоренню виведення нових високопродуктивних порід сільськогосподарських тварин» № 305 від 24 лютого 1984 року. Необхідність у створенні лінії була викликана підвищеним попитом товарного свинарства на скороспілих м'ясних кнурів для масового використання їх у регіональних системах породно-лінійної та міжлінійної гібридизації.

Порода створена в результаті застосування методу складного відтворювального схрещування полтавського м'ясного типу свиней ПМ-1 та помісей різних поєднань порід великої білої, ландрас, гемпшир і дюрок. При створенні нової лінії ставилася мета одержувати високий гетерозисний ефект при поєднанні кнурів лінії з матками районованих порід, а гібридний молодняк від таких поєднань при забої живою масою 115—120 кг мав відповідати вимогам стандарту на м'ясну свинину.

Автори породи — науково-виробничий колектив під керівництвом академіка Рибалко В. П.

Характеристика

Свині червоної білопоясної породи — порівняно великі тварини, пропорційної будови тіла, з добре розвиненими м'ясними формами. Середня жива маса кнурів 316 кг, довжина тулуба — 184 см; свиноматок, відповідно, — 245 кг і 169 см. Середній рівень відгодівельних та м'ясних якостей: вік досягнення маси 100 кг — 176,5 днів; середньодобовий приріст на відгодівлі — 846 г, вихід м'яса в туші — 62,1 %, товщина шпику на рівні 67 ребер — 25 мм.

Див. також
 Миргородська порода свиней
 Полтавська м'ясна порода
 Українська степова ряба порода

Джерела

Породи свиней, виведені в Україні
Породи свиней, районовані в Україні
Інститут свинарства імені О. В. Квасницького


text:
2.1.11.9.9 Chapter 2 Background .1 Cosmology .11 Math Section 10.2
Section 1 Finite differences
The net method is the method of finite differences, at present it is on of the most widely spread methods of numerical solution of equations with partial derivitives. It is based on the idea of replacing the derivatives with finite difference equations. Consideration will be confined to the case of two independent variables.
Let there be given some domain G with boundary G in the xOy plane. Let us construct in this plane two families of parallel straight lines:
The points of intersection of these straight lines will be called mesh points. Two mesh points are said to be neighbours if the distance between them in the direction of the axis Ox or Oy is equal to h. Consider mesh points which do belong to the domain G+G together with such points outside this domain which lie distances less than h from the boundary G. All points, the neighbours of which belong to this set, will be referred to as interior points (the point A in the figure above), and the remaining ones as boundary points ( points B and C).
Let uik denote the values of the unknown function u = u(x,y) at the mesh points (x0 + ih, y0 + kl). At interior points of G, replace the partial derivatives by the finite differences
at boundary points by the less accurate expressions
Partial derivatives of the second order are replaced in an analogous manner:
These replacements of derivatives by finite differences allow to reduce the solution of partial differential equations to systems of difference equations.


text:
Forums > Action & Activity > WR Action >
7mm Building a GWR brick Waiting room
Discussion in 'WR Action' started by LarryG, 12 February 2019.
dee valley
scratchbuilt
LarryG Western Thunderer
I described modelling the station masters house and waiting room at Carrog station (Dee Valley) in workbench thread, but it got unwieldy and was slow opening up. So I decided to put this in the GWR Action section seeing as the brick waiting room was something of a house-style in parts of the GWR.
The first move was to photograph the building square-on with as little perspective tailoff as possible. Having measured the length of the building (29' 6"), the photo was then printed off to 7mm scale, which was then used as a scale drawing....
The lavatory wall is 84" long, then 41" to the first window on the left, 23" for each window with 13" in between them. 36" to the door. 40" door width and then 60" to the end of the building. The height of the waiting room from platform is 10' 3".
The lavatory end wall measurements are: 56" to the doorway. 36" wide doorway, 18" to end on wall. The canopy width is 66".
The opposite end of the building is partially below ground level due to the path down to the Down platform. Therefore only 92" of the end wall is visible above ground level and only 72" of the wall where it is adjacent to the field. The building is set back 11' from the platform edge.
Last edited: 12 February 2019
LarryG, 12 February 2019
PhilH, Compton castle, Ian Smith and 7 others like this.
After printing the building to 7mm scale (I also built it in 4mm), the building walls were cut out of 60thou Plastikard to measurement and also checked against the photo....
The next move was to clad the walls with Slater embossed English Bond brick starting between the windows to get the brick pattern correct....
The walls fully clad....
Thick glazing material was taped to the photo and the window frames traced in cream paint using a ruling pen. When dry, the outer frames were added in chocolate....
Close up showing the rounded corner bricks in window and door openings and on the corners of the building...
The assembled walls, decorative bricks and slabs on top of toilet wall. Note the rounded corner at this end of the building only extended to the height of the toilet door. The back corners of the building were square. Interestingly, when this waiting room was rebuilt from rubble, it ended up one course of bricks short than the original. So my model is of the restored building...
PhilH, Compton castle, Phil O and 5 others like this.
The next move was to fit the guttering. I know it looks strange, but it prevent the walls from bending inwards. The outer edge was rounded off on the underside to represent guttering
Hopefully, the picture below shows this. The roof was 60thou thick as usual....
Tiles were cut in strips from Plastikard embossed 4mm scale paving slabs. The bottom row was glued on first and the rest slightly overlapped as shown....
Looking more like a building now.....
The canopy was built from a rectangle of 60 thou Plastikard curved on its bottom edge to resemble guttering. Then Slaters corrugated sheet was added top and underside....
I'm afraid I cannot remember where i bought the wooden canopy edging. I nipped off the blobs to leave the upper part of the edging....
A mazak girder left over from a Hornby toy was sunk into the front wall of the waiting room to give added support to the canopy...
On completion, the building was sprayed with Halfords Red Oxide plastic primer....
PhilH, Deano747, Compton castle and 5 others like this.
The building was sprayed an orange-red colour (cellulose) and then the engineering brick sections were brush painted, again in cellulose. Mortar was a weak matt white enamel paint brushed over the bricks and wiped off the surface of the bricks with a damp cloth of turps. Each side was done one at a time to prevent the paint running out of the brick cement courses. Then the building was varnish in matt cellulose. Today I would use Halford Matt Lacquer from a spraycan...
7mm and 4mm versions of the same building...
The back of the building was plain with no windows....
With the cement course highly visible, it shows the importance of getting the bricks between the windows perfectly positioned...
A comparison with the real thing. Note the support girders...
Finally, a general view of Carrog station in 4mm scale. In a senior-moment, I stupidly replaced the Peco bullhead track with Peco Code 100 to match the outdoor sections, and that is how it remains to this day....
PhilH, matto21, Muddysblues and 12 others like this.


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text:
Q: "cannot execute binary file" on Cygwin Preface: Using cygwin on a Win7 machine.
I have some old (very old) f77 code (45,000 lines in 25 files) written by someone else that I am trying to use.
Yesterday I compiled, linked and ran it OK (using f77 compiler). I then made some mods (increasing array sizes) and kept getting segmentation faults when executing. Wondering if there was a compatibility problem I then fiddled with the settings in Windows (to no avail).
Now I cannot even run the compiled program - I get a "cannot execute binary file" error. I cannot even compile and run the original version of the code.
There were only some minor warnings during the compiling and none during the linking.
I have:

*

*Checked permissions (all OK:- user::rwx)

*Checked via file and get: "PE32 executable (console) Intel 80386, for MS Windows".

*Written a test program to check my compiler commands and it ran as expected.

*Copied all source code to another directory to see if that was problem (it didn't help).

*Tried to run the executable from a windows command prompt and get "not a valid Win32 application" (and yet a previous executable executes OK).

What may have happened between yesterday and today that is stopping this program executing.  Is it related to my fiddling with the compatibility settings?  Or is it something in the code that lets it compile and link OK but not execute?
Any ideas appreciated.


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We are a small artisan brewery in West Kensington, Philadelphia. We produce delicate and flavorful beers, fermented with our own mixed cultures. A central pillar of our production is our Solera system. This pyramid of barrels contains beer of various ages, in an array of oak types from around the world. This allows us a broad palette for blending beers to our unique taste. Please enjoy them with us.
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This entry was posted on February 20, 2017 by etripp.


text:
(function () {
	'use strict';

	/**
	 * ES6 brings many enhancements to the already built-in javascript objects.
	 * This series of tests will show you these additions and how to use them.
	 */
	describe('ES2015 Built-in Objects Enhancements', function () {

		/**
		 * The `Array` object
		 * These tests apply to both the `Array` object, `new Array()`, and the `array` object literal, `[]`.
		 *
		 * @see [MDN Reference: Array](https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/Array)
		 * @see [ECMA 262 Array Objects](https://tc39.github.io/ecma262/#sec-indexed-collections)
		 */
		describe('The Array object', function () {

			/**
			 * @see [find()](https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/Array/find)
			 */
			describe('find() method', function () {
				it('`find()` returns the first matching element using a callback', function () {
					let match = [1, 2, 3, 4, 5].find(elem => elem > 3);
					expect(match).toBe(4);
				});
				it('`find()` returns the `undefined` when no matching element is found', function () {
					let match = [1, 2, 3, 4, 5].find(elem => elem > 10);
					expect(match).toBeUndefined();
				});
			});

			/**
			 * @see [findIndex()](https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/Array/findIndex)
			 */
			describe('findIndex() method', function () {
				it('`findIndex()` returns the first index matching the condition supplied in the callback', function () {
					let match = [1, 2, 3, 4, 5].findIndex(elem => elem > 3);
					expect(match).toBe(3);
				});

				it('`findIndex()` returns `-1` when no match is found', function () {
					let match = [1, 2, 3, 4, 5].findIndex(elem => elem > 10);
					expect(match).toBe(-1);
				});
			});

			/**
			 * @see [fill](https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/Array/fill)
			 */
			describe('fill() method', function () {
				it('`fill()` returns the modified array with all indices, from start (inclusive) to end (exclusive), filled with a static value', function () {
					let fill = [1, 2, 3, 4, 5].fill(2, 0, 5);
					expect(fill).toEqual([2, 2, 2, 2, 2]);
				});
				it('`fill()` fills all values given only a single argument', function () {
					let fill = [1, 2, 3, 4, 5].fill(4);
					expect(fill).toEqual([4, 4, 4, 4, 4]);
				});
				it('`fill()` fills all values with a starting index provided with 2 argument', function () {
					let fill = [1, 2, 3, 4, 5].fill(4, 2);
					expect(fill).toEqual([1, 2, 4, 4, 4]);
				});
				it('`fill()` cannot fill an empty array', function () {
					let fill = [].fill(2, 0, 5);
					expect(fill).toEqual([]);
				});

				it('`fill()` can fill any object with a `length` property creating an object dictionary', function () {
					let fill = [].fill.call({ length: 3, isDictionary: true, name: 'jason' }, 4);
					expect(fill).toEqual({ 0: 4, 1: 4, 2: 4, length: 3, isDictionary: true, name: 'jason' });
				});
			});

			/**
			 * Shallow copies portions of the array to another location within the same array without any
			 * modification to its size.
			 *
 syntax:
			 *
			 * arr.copyWithin(target[, start[, end]])
			 *
			 * Where `target` equals the number of elements to copy
			 * `start` (optional) zero-based starting index. Defaults to the beggining of the array.
			 * `end` (optional) zero-based end index (exclusive -- up to, but not including. Defaults to the end of the array.
			 *
			 * @see [copyWithin](https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/Array/copyWithin)
			 */
			describe('copyWithin() method', function () {
				it('copies the first portion of the array with a starting index', function () {
					let copy = [1, 2, 3, 4, 5].copyWithin(2);
					expect(copy).toEqual([1, 2, 1, 2, 3]);
				});
				it('copies the first portion of the array using a negative index to start from the end of the array counting backwards', function () {
					let copy = [1, 2, 3, 4, 5].copyWithin(-2);
					expect(copy).toEqual([1, 2, 3, 1, 2]);
				});
				it('copies x starting from a', function () {
					let copy = [1, 2, 3, 4, 5].copyWithin(2, 1);
					expect(copy).toEqual([1, 2, 2, 3, 4]);
				});
				it('copies x starting from a and not going beyond element b', function () {
					let copy = [1, 2, 3, 4, 5].copyWithin(2, 1, 4);
					expect(copy).toEqual([1, 2, 2, 3, 4]);
				});
			});

			/**
			 * (MDN) The Array.of() method creates a new Array instance with a variable number of arguments,
			 * regardless of number or type of the arguments.
			 *

			 * The difference between Array.of() and the Array constructor is in the handling of integer
			 * arguments: Array.of(42) creates an array with a single element, 42, whereas Array(42) creates
			 * an array with 42 elements, each of which is undefined.
			 *
			 * @see [of](https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/Array/of)
			 */
			describe('of() method', function () {
				it('creates a new instance containing a variable number of arguments', function () {
					expect(Array.of(999).length).toBe(1);
					expect(Array.of(1, 2, 3, 4, 5).length).toBe(5);
				});
			});

			/**
			 * (MDN) The Array.from() method creates a new Array instance from an array-like or iterable object.
			 *

			 * In ES6, class syntax allows for the subclassing of both built-in and user defined classes;
			 * as a result, class-side static methods such as Array.from are "inherited" by subclasses of
			 * Array and create new instances of the subclass, not Array.
			 *
			 * @see [from](https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/Array/from)
			 */
			describe('from() method', function () {
				it('produces a new array instance by converting an array-like or iterable object', function () {
					expect(Array.from('jason')).toEqual(['j', 'a', 's', 'o', 'n']);
				});
			});

			/**
			 * Returns a new array iterator object containing a key/value pair for each index of the array.
			 *
			 * @see [entries](https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/Array/entries)
			 */
			describe('entries() method', function () {
				it('returns a key/value pair', function () {
					let entries = ['a', 'b', 'c', 'd', 'e'].entries();

					// We access each entry with the `next()` method.
					let next = entries.next();
					expect(next.value).toEqual([0, 'a']);

					// We access each value in the entry with the `value` property.
					expect(next.value[0]).toEqual(0);
					expect(next.value[1]).toEqual('a');
				});
			});

			/**
			 * Returns an array iterator that contains only the keys of the array.
			 *
			 * @see [keys](https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/Array/keys)
			 */
			describe('keys() method', function () {
				it('returns the keys of the array', function () {
					let keys = ['a', 'b', 'c', 'd', 'e'].keys();

					expect(keys.next()).toEqual({ value: 0, done: false });
					expect(keys.next()).toEqual({ value: 1, done: false });
				});
			});

		});

	});

})();

redpajama_set_name: RedPajamaGithub


text:
StubHub extends partnership with NFL Players Association
StubHub has linked up with the NFL Players Association for the second year in a row to support career growth after competition.
The 2019 NFLPA Externship program pairs 63 athletes with 24 organisations, including StubHub, that best fit participants' interests and career development goals.
Scott Jablonski, StubHub's general manager of NFL, NBA & NHL said: "We are excited to continue our partnership with the NFLPA for a second year. We were so impressed with our Externs and Fellow from the first year that we jumped at the chance to participate again.
"These players are driven individuals and we're lucky to have them at StubHub. We always love new perspectives and appreciate the opportunity to learn from some of the best and brightest in the NFL."
Josiah Price of the Minnesota Vikings, Thomas Hennessy of the New York Jets, Ryan Malleck, a free agent who most recently played for the Pittsburgh Steelers and Kapron Lewis-Moore, one of the newest players to sign with the San Francisco 49ers will participate in a three-week immersive business experience program at StubHub's headquarters in San Francisco.
Players will also travel to StubHub's global customer service centre in Salt Lake City and work with StubHub customers at a Lakers vs. Clippers NBA game in Los Angeles.
NFLPA player affairs manager, Connor Ford, said: "The experience provided by StubHub in the first year of our partnership served as a great fit for our externs and fellows in learning more about the ticketing industry.
"We are thrilled that this year's externs will once again have the opportunity to work with StubHub in gaining valuable, hands-on experience."
Image: Pxhere
'Multiple' suitors eyeing up StubHub as eBay continues strategic review
StubHub launches loyalty programme
StubHub to engage anti-fraud tech for Davis Cup finals
NFL ticketing data to be shared league-wide in 2019
NFL's 49ers debuts Season Share's fractional ownership tech
UK advertising regulator celebrates resale transparency work
Ticketmaster introduces automatic barcode refreshing feature
Appointments round-up: SeatGeek, MCC, Jockey Club and more
New StubHub index charts NFL fans' optimism
Ex-NFL player sued by broker over Super Bowl tickets


text:
Afterglow is the fourth album by Swedish melodic death metal band In Mourning, released on 20 May 2016 via Agonia Records. It is their last album with founding bassist Pierre Stam, and their only album with drummer Daniel Liljekvist, formerly of Katatonia.

Track listing

Credits

Musicians
 Tobias Netzell – vocals, guitars
 Björn Pettersson – guitars, vocals
 Tim Nedergård – guitars
 Pierre Stam – bass
 Daniel Liljekvist – drums

References

2016 albums
In Mourning (band) albums


1. Go to our 24/7 Live Chat immediately for the account info after you make the purchase!
2. The entire RS account information, including login ID and password, will be sent to you within ONE hour via e-mail after we have received your order and payment.
NOTICE: After buying any RS account, please change the registered email and the password first! DO remember the settings! That means you are the ONLY owner of the account.


Varley's Ultralight Fire Tanker is on display at AFAC this week.
Are you attending #AFAC17 this week?
Catch us at Stand 112 to see our Ultralight Tanker on display and chat to our team about Varley's ever-expanding range of fire and emergency service capabilities.
The 2017 conference is set to be the biggest and best yet, so be sure to head to ICC Sydney today - Wednesday!
Further info and conference schedules available here: www.afacconference.com.au.
30 Years for Macca and Pete!


text:
The Conversation: Government needs to front up billions, not millions, to save Australia's threatened species
By Don Driscoll (Deakin University) Bek Christensen (University of Queensland) and Euan Ritchie (Deakin University)
Southern cassowaries, orange-bellied parrots, Leadbeater's possums, and Australia's only purple wattle are among the threatened species the government is seeking conservation investment for under its recently released threatened species prospectus. The prospectus seeks business and philanthropic support in partnership with the government and community groups to raise around A$14 million each year.
Orange-bellied parrots are one of the species included in the government's Threatened Species Prospectus. Image crdeit: JJ Harrison via Wikimedia Commons
The government has proposed 51 projects, costing from A$45,000 to A$6 million. At first glance the prospectus is a positive initiative.
But it also highlights that the current government is unwilling to invest what's needed to assure the conservation of our threatened plants, animals and other organisms.
The government's partial outsourcing of conservation investment and responsibility might have some benefit. Raising broader awareness about the plight of Australia's threatened species, particularly among Australia's leading companies and donors, could lead to valuable conservation gains. It could translate to pressure for greater financial investment in conservation and less damaging actions by big companies.
The prospectus includes an excellent range of critically important projects. These include seed banks for plants facing extinction, and projects to control feral animals and create safe havens for mammals and birds.
These projects could help to save species on the brink of extinction, such as the critically endangered Gilbert's potoroo, the Christmas Island flying fox and the orange-bellied parrot.
The projects have a high chance of success. Community groups and government are already on board and ready to take action, if only the funds materialise.
Why do so many species need urgent help?
The State of the Environment Report released in early March shows that the major pressures on wildlife have not decreased since 2011 when the previous report was released. The prospects for most threatened species have not improved.
Habitat loss is still the biggest threat. The homes of many threatened species are continually under threat from developments. Coal mines threaten the black-throated finch, urban sprawl eats away at the last 1% of critically endangered Victorian grasslands, and clearing for agriculture has spiked in Queensland.
Feral animals are widespread and control programs have been inadequate. New diseases are emerging, such as the chytrid fungus that has devastated frog populations worldwide.
The horticulture industry, for example, introduced myrtle rust to Australia. The disease was poorly managed when it was first detected. It now infects more than 350 species of the Myrtaceae family (including eucalypts).
We have so many threatened species because national and state governments don't invest enough money in protecting our natural heritage, and environmental protections have been rolled back in favour of economic development.
Show us the money
Over the past three years the federal government has invested A$210 million in threatened species. This annual investment of A$70 million each year is minuscule compared with the government's revenue (0.017% of A$416.9 billion).
It includes projects under the National Landcare Program, Green Army (much of which didn't help threatened species) and the 20 Million Trees program.
The A$14 million that the prospectus hopes to raise is a near-negligible proportion of annual revenue (0.003%).
Globally, the amount of money needed to prevent extinctions and recover threatened species is at least ten times more than what is being spent.
In Australia, A$40 million each year would prevent the loss of 45 mammals, birds and reptiles from the Kimberley region.
Can we afford it? The 2016 Defence White Paper outlines an expansion of Australia's defence expenditure from A$32.4 billion in 2016-17 to A$58.7 billion by 2025, even though the appropriate level of investment is extremely uncertain.
We are more certain that our biodiversity will continue to decline with current funding levels. Every State of the Environment report shows ongoing biodiversity loss at relatively stable, low-level funding.
And what will happen if industry won't open its wallets? Will the government close the funding gap, or shrug its shoulders, hoping the delay between committing a species to extinction and the actual event will be long enough to avoid accountability?
In the past few years we've seen the extinction of the Christmas Island forest skink, the Christmas Island pipistrelle, and the Bramble Cay melomys with no public inquiry. Academics have been left to probe the causes, and there is no clear line of government responsibility or mechanism to provide enough funding to help prevent more extinctions.
Popularity poll
Another problem is the prospectus's bias towards the cute and cuddly, reflecting the prejudice in the Commonwealth Threatened Species Strategy. The strategy and prospectus make the assumption that potential benefactors are inclined to fork out for a freckled duck, but not for a Fitzroy land snail.
The prospectus includes almost half of Australia's threatened mammals (listed under the Environment Protection and Biodiversity Conservation Act) and one-fifth of the threatened birds.
Other groups are woefully represented, ranging from 13% of threatened reptiles to just 1% of threatened plants and none of the listed threatened invertebrates. The prospectus does not even mention spectacular and uniquely Australian threatened crayfish, snails, velvet worms, beetles, butterflies, moths and other insects.
The allocation of funds is equally problematic. We found that birds received the most money (A$209,000 per species on average), followed by mammals and plants.
Raising new funds to help save iconic species is valuable, and can help other species. This focus on birds and mammals wouldn't be a problem if the government were to pick up the tab for the less popular threatened species.
But it hasn't. That means our threatened species program will continue to be exceptionally biased, while many more species vanish forever, with little acknowledgement.
We think that the prospectus, despite its biases, is a positive initiative. It is vital to engage society, including business and wealthy philanthropists, in the care of Australia's natural heritage. But it also highlights how little the government is willing to invest in preserving our threatened wildlife and ecosystems.
This article was originally published on The Conversation. Read the original article, including reader comments.
This entry was posted in Science communication and tagged australian endangered species, conservation, threatened species, wildlife conservation on 21 March 2017 by Euan Ritchie.
← Responses of invasive predators and native prey to a prescribed forest fire Radio National: My Feed →
2 thoughts on "The Conversation: Government needs to front up billions, not millions, to save Australia's threatened species"
Marie-louise Sarjeant 26 March 2017 at 7:14 pm
Thank you Euan I have shared this article
Euan Ritchie Post author 26 March 2017 at 7:16 pm


text:
NADINE SUTHERLAND Vinyl Records and CDs
Nadine Sutherland (born 15 March 1968)[1] is a Jamaican reggae singer whose early career was nurtured by Bob Marley. She went on to become a successful dancehall artist in the 1990s. Biography Sutherland was born in Kingston, Jamaica and raised in Above Rocks in Saint Catherine Parish. She began performing in 1979, winning the Tastee Talent Contest that year (beating Paul Blake and Yellowman), with her parents managing her career while she studied at St Andrew High School.[2][3] She combined her musical career with studies in business administration, and was the first artist signed by Bob Marley to his Tuff Gong label, recording "Starvation on the Land" while aged eleven.[3][4][5] She also cut a couple of christian-flavored reggae songs produced by both Anthony "Sangie" Davis and Rita Marley, entitled, "Work And Pray" and "Hands And Hearts". After Marley's death, Sutherland performed at memorial concerts outside Jamaica, along with Ziggy Marley and the Melody Makers, the I Threes, and the Wailers.[3] She struggled to break through as a solo artist and after touring the US as support to Bunny Wailer, she worked as a backing vocalist at Gussie Clarke's Music Works studio.[3] She went on to work for Donovan Germain at his Penthouse Studios, and Germain... Read More
... produced her 1993 hit "Action", a combination with Terror Fabulous.[3] The track was used by the Jamaican Labour Party as their election campaign theme, and in 2007 was included by Vibe at number nineteen in its list of the fifty greatest duets of all time.[3][6][7] In the US, "Action" reached number 43 on the Billboard Hot 100.[3][8] Buju Banton's "Dickie" was remixed as "Wicked Dickie" with Sutherland adding vocals, and this topped the charts in Jamaica.[3] She collaborated with Banton again on the single "What Am I Gonna Do".[9] In 2006 she performed at Reggae Sunsplash, and in 2007 she released the album Call My Name, which was a hit in Jamaica as well as on reggae charts in Florida and New York.[4][10][11] At the Canadian Reggae Music Awards in 2008, the album was nominated in the 'Top Reggae CD/Album (International)' category, while a single from the album, "Big Tingz", was nominated as 'Best Reggae Single (International)'.[1] Sutherland has also appeared as a judge on the TV show Digicel Rising Stars,[12] written for the Jamaica Observer,[13] and been a committee member for the charity Sisters to Sisters.
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All Formats --------------------- All Vinyl Formats All CD Formats --------------------- Vinyl - LP Vinyl - 45 & 7" Vinyl - EP Vinyl - 10" Vinyl - 12" Vinyl - 78 --------------------- CD Single Cassette Video & DVD Book Clothing Memorabilia & Misc. -------------------------- 12" (20) 7" (70) CD (1) LP (3)
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Neucopianow Page 217: 57 Of Classy Valentine Rose. 59 Of Contemporary How to Make A Christmas Wreath Bow. 40 Of Up to Date Christmas Blow Up Decorations Outside. 54 Of Conventional Valentine Sentences for Love. 54 Of Superior Walmart Outdoor Christmas Decorations. 58 Of Smart Best Valentines Day Quotes.
Saturday 12th, May 2018 19:46:21: PM. Valentine.. Roy Burns.
Saturday 12th, May 2018 19:12:30: PM. Christmas.. Roy Burns.
Saturday 12th, May 2018 18:32:16: PM. christmas decorations.. Sean Gardner.
Saturday 12th, May 2018 15:31:21: PM. Valentine.. Timothy Vargas.
Saturday 12th, May 2018 11:28:16: AM. christmas decorations.. Mark Rios.
Saturday 12th, May 2018 11:18:21: AM. Valentine.. Timothy Vargas.
Saturday 12th, May 2018 07:46:04: AM. christmas quote.. Mark Rios.
Saturday 12th, May 2018 07:06:21: AM. Valentine.. Emma Ramos.
Saturday 12th, May 2018 06:13:30: AM. Christmas.. Timothy Vargas.
Saturday 12th, May 2018 04:21:16: AM. christmas decorations.. Raymond Ellis.


text:
US Army to include AN/PRC-155 manpack radios in Capability Set 14
The US Army will include General Dynamics AN/PRC-155 radios in capability set (CS) 14 to connect soldiers and commanders to the soldier's network that includes the warfighter information network-tactical (WIN-T) and other vital mission command on-the-move capabilities.
The US Army will include General Dynamics (GD) AN/PRC-155 radios in capability set (CS) 14 to connect soldiers and commanders to the soldier's network that includes the warfighter information network-tactical (WIN-T) and other vital mission command on-the-move capabilities.
An integrated package of radios, satellite systems, software applications, smartphone-like devices and other network components, the CS 14 is scheduled to be delivered to units within the 101st Air Assault Division, Fort Bragg, North Carolina, US.
General Dynamics C4 Systems president Chris Marzilli said the two-channel PRC-155 manpack radio operates on multiple, government-owned waveforms to simultaneously connect soldiers on foot, in vehicles, in aircraft and helicopters to the soldier's network.
"The radio is a priority component of the Army's network modernization plan, and essential to CS 14," Marzilli said.
"Soldiers and commanders serving in Afghanistan, Africa, Korea or other tactical locations now have a secure mobile, broadband communications network with mission command on-the-move so wherever they go, the network is right there, just like the network supporting a civilian's smartphone."
The AN/PRC-154 is a two-channel manpack radio designed to provide line-of-sight (LOS) and beyond-line-of-sight (BLOS), high-bandwidth waveforms for on-the-move voice, sensor, data and position-location capabilities to dismounted troops or those in vehicles during combat.
"The radio is a priority component of the Army's network modernization plan, and essential to CS 14."
Certified by the National Security Agency to communicate classified voice and data at top secret level and below, the radio is capable of supporting all three of the army's non-proprietary networking waveforms, including soldier radio waveform (SRW), wideband networking waveform (WNW) and the mobile user objective system (MUOS).
PRC-154/154A radios and the PRC-155 radio, when connected to WIN-T, enable dispersed forces to talk, text, share images and collaborate wherever they serve worldwide.
GD, along with ROCKWELL COLLINS, has to date delivered more than 3,400 two-channel manpack radios in support of army fielding requirements.
Image: The HMS AN/PRC-155 manpack radios in production in the General Dynamics radio factory in Scottsdale, Arizona, US. Photo: © 2014 General Dynamics C4 Systems.
The Global Military GPS/GNSS Market 2013-2023 - SWOT Analysis: Market Profile
The Global Military GPS/GNSS Market 2013-2023 - Major Programs: Market Profile
The Global Military GPS/GNSS Market 2013-2023 - Country Analysis: Market Profile
The Global Military GPS/GNSS Market 2013-2023 - Market Size and Drivers: Market Profile
General Dynamics C4 Systems
ROCKWELL COLLINS
General Dynamics Corp
WINT CORPORATION


What does good evaluation of digital healthcare technologies look like? How can you gather the right evidence to demonstrate the effectiveness and value of your new product or service?
Earlier this month, Professor Sir Michael Marmot visited Life Sciences Hub Wales for a series of meetings with senior Welsh Government officials and to lead a morning seminar for health and social care leaders in Wales.
The DHEW spring event will be split into 2 sessions with the morning session showcasing APIs in healthcare, and the afternoon session will look at the APIs that have been developed and delivered through the Ecosystem.
The Welsh Health Hack brings healthcare professionals together with digital, technology and data companies to solve clinical problems and challenges from across the health and care system in Wales.
Wales has a challenge to address health inequalities – from cradle to the grave – and take action on the social determinants of health. We look at how Wales can make a positive change through policy, education and advocacy.
This week, Mark Humphries joined us as the new Head of Accelerate.
Life Sciences Hub Wales welcomes the appointment of Prof Mark Drakeford AM as the new First Minister of the Welsh Government.
Life Sciences Hub Wales offers its warmest congratulations to Hywel Dda University Health Board as winners of the MediWales Innovation 'NHS Wales Collaboration with Industry' Award.
Digital Health Ecosystem Wales is hosting it's winter event on Wednesday 5th December at the Life Sciences Hub Wales, Cardiff Bay.


Don't just do things as they come your way. Plan and work on priorities, and you won't have pending important things giving you stress at the end of the day. Amongst the most important things, do the toughest first, and always so relaxed will be your day.
We feel jealous of people who have reached great heights of success, what we fail to see is their hard work dedication, pain and sacrifices in their journey to success. There is no short cut to success and no one ever succeeded just by the way.
Best Efforts Motivational Quote: Try your level best, then Don't worry…loss..win..
Try your level best, then Don't worry whether a win or a loss comes your way.
Someone may be better than me in one thing for he practiced it much more. I am also, better than him in many things to which I had good exposure or which I practiced more. No one is born good at any thing, practice and exposure makes all the difference.
Success is sure to come when you do what you love to, as loving what you do makes your work, your passion. Being passionate about something makes you see only solutions and no problem really looks like a problem.
No one ever did anything great just by having Passionate Dreams and doing nothing.
Dreams are the tickets for the journey called life..Hard work provides the boarding pass making sure that you don't miss this flight and reach your destination..So Dream big and work harder.
Hard Work Motivational Quote: But the contentment and its rewards are worth the efforts..
Hard work is really hard to do. But the contentment and its rewards are worth the efforts besides raising our self worth in our own eyes.
Performance is the accomplishment of the goals & objectives, not the efforts made towards accomplishments.
Humans are prone to errors. There are fair chances of inaccuracy in determination of the direction in which the effort is to be applied, and if the direction is erroneous, it means that the hard work put in by an individual won't pay off in time, or won't pay off at all.


Often touted as a 'weekly miracle worker for dull skin', I've spotted Murad's Pomegranate Exfoliating Mask on several blogs lately and I have been lucky enough to be able to try it out for myself. This face mask uses Pomegranate Extract, Natural Fruit Enzymes, Ginko Bilbo Extract, and AHAs to dissolve tired and dull skin cells, leaving you with a brightened, clear and revitalised complexion.
It has a gel like formula which feels instantly cooling when you first apply it to freshly cleansed skin, and there was also a tingling, 'working', sensation as the mask gets down to business. Those with sensitive skin may find this too irritating, but I didn't find it too uncomfortable myself. I left it on for around 10 minutes and then washed it off. My skin was left feeling very clean, my pores looked noticeably smaller, and my complexion looked much brighter overall. Brilliant!
The packaging is a little unconventional as you receive six sachets in a box, as opposed the usual tube or pump, but I can see this appealing to those who travel a lot and want to keep up with a good skincare routine whilst they're away. There's a lot of product in one sachet, so you could easily get two uses out of each one which is what I did. On this basis, you're paying £25 for 12 masks which works out at just over £2 each. Not bad for a face treatment that works!
Do you prefer face masks in tubes or sachets?
I've never tried Murad but this sounds good. I have recently had a sample of the Korrest Wild Rose Instant Brightneing Mask and that was amazing. If the Murad is anywhere near that good, I will be delighted.
I love these! And I agree, one satchel is far too big for one applications. I wish the satchels were half the size, and twice as many! These are excellent. They work wonders!
Definitely - I often end up distributing the contents of sachet into a little plastic pot because there's just too much for a single use!


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News Local Agriculture Ministry on Peyia sea caves boat and fishing ban
Agriculture Ministry on Peyia sea caves boat and fishing ban
The Agriculture Ministry on Wednesday explained its decision to issue a decree to prohibit fishing and boats in the Natura-2000 protected area of the Peyia sea caves, in order to better protect the monk seal.
The Ministry says that the decree aims to create a "core" protection zone in which all fishing and movement of boats will be prohibited and a "neutral" zone where holders of a professional licence for inshore fishing will be exempt from the fishing ban.
According to the Ministry, the decree is a result of suggestions proposed by Dr Panos Dendrinos, a Greek expert who was commissioned to conduct a study on the impact of human activity on the endangered monk seals which live in the caves.
"The need for this decree arose from the fact that it has been verified that Mediterranean monk seals use the caves, as well as from the need to protect the area from various marine anthropogenic activities," Minister Costas Kadis said.
"It has been proven that efforts to preserve biodiversity that have the acceptance and support of local communities have better prospects for success. It is up to us to protect and preserve biodiversity and respect the rules of operation of the Marine Protected Areas," he added.
Concluding, the Ministry says that for a second consecutive year, the birth of a Mediterranean monk seal was recorded in the caves, as on December 5 a female seal, named "Aphrodite" was born.
Last year, a male seal named "Kinyras" was also born in the Peyia caves.
The Mediterranean monk seal is the most endangered type of seal in the world and the only type in the Mediterranean.
It is estimated that fewer than 700 individuals survive in three or four isolated subpopulations in the Mediterranean.
Fourteen of them are in Cypriot waters.
https://in-cyprus.com/agriculture-ministry-bans-fishing-and-movement-of-vessels-in-peyia-sea-caves-area/
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