Our identity as a people of basalt and sea, of whale-hunters, of believers in the Holy Spirit, of constant departures in search of horizons imagined and praised by dreams. In our escapes from telluric phenomena, our identity never fades as we transcend the frontier that confines the island, transforming the sea into a necessary road.
Regardless of the final destination, the experience of the islands and its divulgation in other Portuguese regions or in the host countries is always one of the firmest intents of the Azorean spirit.
In the region of Algarve, this intention inspired the concerted efforts of the Azorean diaspora, which led to the creation, in 1992, of the Nucleus of the Azores in Algarve, a non official institution that for almost two years coherently and successfully implemented its agenda.
Of the many activities that were undertaken, we should highlight an excursion to the island of S. Miguel at the end of January of 1993, an event that joined and enthused more than one hundred and fifty persons, such as representatives of local government, professors of different disciplines, entrepreneurs and many other entities that, for the very first time, came into contact with the insular reality of the Archipelago of the Azores.
As a consequence of this successful and happy occurrence, new and ample horizons surged, leading to the formation of a shared opinion among the members of the Nucleus and its associates, which are always present when significant decisions are taken. The consensus view, now more definitive and official, is that the whole of the Azores should be divulged in our host region, Algarve.
It is in this context that the House of the Azores of Algarve was established and officially constituted in the Public Registry Office of Faro, in May of 1993. Its formal establishment implied the legal dissolution of the preceding Nucleus.
Until 1994, due to the lack of a head office, members of the House of the Azores met in the most diverse places and coordinated efforts pursuant to its stated purpose.
By virtue of an opportune and happy circumstance, on the same date the House of the Azores of Algarve was established, an old and humble house, located in Faro's city center, at Largo da Estação, was rented. Though not offering the most desirable architectural conditions, it nonetheless became a much-needed meeting-point that permuted the effective coordination of a more ambitious program to promote "azoreanity" in the region. A detail of undeniable salience, that distinguishes the Azorean diaspora that lives and works in the extreme south of Portugal, is that there are approximately one hundred Azoreans living in this geographically dispersed area that stretches from the frontier with Spain to Ponta de Sagres. This fact means that there is a double responsibility to which the House of Azores of Algarve can not, and will not, ignore, namely: to direct its activities simultaneously to the quantitatively less significant Azorean diaspora and to the open and receptive host community.
It is well known that the House of the Azores of Algarve is an institution whose values originated in the islands. These values, however, are shared throughout the host region. This is expressed in the fact that various municipalities and other representative entities have invited the House of the Azores to participate in joint projects and partnerships in areas where Azoreans reside.
Our honest and close relationship with the entities from the host regions has engendered gratifying synergies that have been developed in a meticulous and salutary manner. The intent is to engender and articulate useful and lasting relations.
Without any complaints ever been presented and hoping for a better future, it is worth noting that the House of the Azores, due to the lack of an adequate venue, is presently incapable of supporting most of the activities that are programmed. In order to be able to make these activities viable, the House depends on the good will of local entities that have occasionally provided access to municipal auditoriums, galleries, libraries, gardens and other venues for the organization of events.
The identity of the Archipelago of the Azores is clearly expressed and divulged, from the smallest cultural detail to the noticeable progress that presently characterizes the nine islands of the Autonomous Region.
One of our principal concerns as an institution is to afford the possibility to divulge poetry and poets, oeuvres and writers. We organize painting and photography expositions, presentations of literary works, craftwork exhibitions, musical events, folk chants, speeches and roundtable discussions about the most diverse subjects. These activities, which emanate from the intention and the responsibility do divulge Azorean culture, are directed at an ample audience. Here, the Azores is both an object and an echo of knowledge and curiosity.
We seek to divulge the historical memories of whaling, a subject that arouses interest and curiosity, as well as artistic works of scrimshaw and whalebone. We divulge some of the rarest and most unique art forms, such as fig-pith carving, and the immense talent that transforms onion and garlic shells or fish scales into pictures or various adornments. These are some of the activities that are organized by the House of the Azores which benefit the Algarve.
Several other aspects of the Azorean identity are habitually addressed by the House and enthusiastically welcomed by the host community, enabling a comprehensive view of the Archipelago, its islands, people, and traditions.
Reliving the past through the presentation of traditional costumes in festive parades, divulging Azorean gastronomy and promoting the flavors of our islands are some of the activities that have been undertaken by the House of Azores of Algarve and the Azorean diaspora to sensitize the host community.
We have also sought to entice the entrepreneurial class to engage in greater commercial exchanges both in the Azores and in the host region. Presently this effort has not been fruitful but in the future if may produce results that are both beneficial and necessary.
However, the most significant achievement of the House of the Azores in the region of Algarve was the revival of the Holy Spirit festivities.
As far as it is known, the worship and celebration of the Holy Spirit in the extreme south of the Portuguese mainland dates back to the middle of the 19th century and is historically associated with the city of Tavira.
On the 9th of June 1993, almost a century and a half after the last Holy Spirit festivities, the House of Azores revitalized this venerable tradition.
Thenceforth, year after year, the event "Worship and Festivities of the Divine Holy Spirit in the Nine Islands" re-enacts the experience of sharing.
The Holy Spirit processions, the crowns, the flags, the philharmonics, the masses with their chants and crownings and the traditional soups, always cooked by cooks from the Azores with ingredients from the islands, has perpetuated this tradition.
Every year, at the appropriate time, an island or a municipality of the Azores is represented in various municipalities of the Algarve that welcome and experience this tradition that the Azorean people has preserved and divulged throughout the centuries.
Founded in the communal experience of sharing, these festivities of the Holy Spirit, widely considered as the grandest in mainland Portugal, served as the backdrop of the twinning of the cities Lagoa-Azores/Lagoa-Algarve, an event that was experienced by more than six hundred persons.
In these diverse exchanges, which are shared by the Autonomous Region, we should note that until the advent of electronic mail, the House of Azores responded satisfactorily to explicit bureaucratic solicitations to find teachers to fill vacancies in diverse educational establishments in our islands.
A brief editorial note: the cultural bulletin "Nine Islands" started being distributed on the month of October of 2007. At the present time, it is not regularly published but it compensates for this irregularity by offering better quality and more diversified contents. Our constant efforts to innovate led, in October 2008, to the organization of the First Cultural Week of the Azores in Algarve, whose theme "Azores-Literature, Music and Flavors" was very well-received by the host community, obliging us to continue organizing it.
The House of Azores has honorably participated in various events, the most noteworthy being: "Fatacil, the Craftwork, Tourism, Agriculture, Commerce and Industry Fair of Lagoa", the largest event of its kind south of the river Tejo. We also participated in the "Fair of Sweets, Dry Fruits, and Regional Drinks" and in the "Fishing Events of the Regional Houses." We should also mention our participation in the "Inter and Multicultural Schools' Meeting" and the support granted to schools where activities concerning the Azores are developed every school year. The purpose of these undertakings is grounded on the project to divulge the image of the Azores.
Our essential goal is that of establishing a close and diversified collaboration between Algarve and the Azores, strengthened daily on the basis of the shared interest of the development of the Autonomous Region of the Azores. We act in accordance with the protocol that was established with the Regional Directorate for the Communities.
In 2005, the members of the House of Azores of Algarve "unanimously approved", for the first time, the attribution of the distinction of Honorary Member to a distinguished gentleman, the then President of the Regional Government of the Azores, Carlos César. On the month of May of the following year, he honored us with his presence in Algarve where, in the city of Faro and in a solemn session, a diploma was offered to the President.
The Regional Director for the Communities, Mrs. Alzira Maria Serpa Silva, who was also distinguished as an Honorary Member of the House of the Azores in Algarve. The Diploma was handed to her in Lisbon, in a tribute organized by the House of the Azores of that city, at the beginning of the present year.
The House of the Azores of Algarve was awarded the Medal of Merit of the City of Faro, a tribute that recognizes its importance for the Municipality.
The Third Cultural Exchange Brazil/Portugal, organized by ALAP – The Academy of Letters and Arts of Paranapuã, Rio de Janeiro and the Museum Maria da Fontinha, Castro D'Aire, attributed the AustragésiloAthayde Diploma of Honor and Merit to the House of the Azores in Algarve "in recognition for its contribution to the aggrandizement of Portuguese-Brazilian Culture." In a solemn event that took place at the Auditorium of the Civil Government of the city of Faro, attended by twenty-two members of the aforementioned Academy and many guests, the Diploma of Recognition of Merit for "services rendered on behalf of Culture and Lusofonia, was granted by the Elos Club of Leiria, an affiliate organization of the International Elos of the Lusíada Community.
Truth be told, such distinctions do not belong exclusively to the House of the Azores of Algarve. More than a right bestowed, it is a duty to share these distinctions with everyone that lives and works in the nine islands of the Azores who, in the middle of the Atlantic, never forget those that long for their islands.
The time we are living in instills responsibility does not allow for despondency and regrets but incites us instead to move resolutely towards a future free of deviation and stagnation.
Aniversário da Casa dos Açores no..


▪ Ararat Temple Restaurant, Ararat Shrine Temple, 5100 Ararat Drive, had 4 critical violations during a Sept. 23 routine inspection and was temporarily shut down while a backup in the floor drain was repaired.
It had no critical violations during an Oct. 1 follow-up inspection.
Officials with Ararat declined to comment.
▪ Bob Wasabi Kitchen, 1726 W. 39th St., had 5 critical violations during a Sept. 25 routine inspection. The department said it received permit fees from a closed account.
It had no critical violations during an Oct. 2 follow-up inspection. Restaurant officials paid for the permit with a debit card and the permit was reinstated.
Officials with Bob Wasabi Kitchen did not return phone calls.
▪ Pour Boy Oil Co., 4225 N. Oak Trafficway, had 3 critical violations during Oct. 7 routine inspection and the deli was shut down for plumbing problems.
It had no critical violations during an Oct. 9 follow-up inspection and the deli was allowed to reopen.
Officials with Pour Boy Oil Co. did not return phone calls seeking comment.


text:
Q: Вирус и браузер Имеется огромная проблема, которая меня значительно вымотала и достала. В браузере (Chrome и Opera)через определённые промежутки времени открывается вкладка-реклама. Так же данный вирус создаёт папки в директории ..\AppData\Local... Папки именуются типа (Kometa,Bromium,Яндекс и пр.). Все они содержат одну и туже инфу папку User Data\здесь пака с длинной комбинацией латиницы.
Мной применялись следующие действия:

*

*Сканирование и чистка ADWCleaner

*Сканирование и чисткаMailwareFight

*Ручное удаление папок, создаваемых автоматически вирусом

*Скинирование eset nod

*Сброс настроек брайзеров и чистка куков

*Пробовал переустановить браузер (Chrom), но копировал старую папку User data в новый браузер.

Какие советы по решению данного вопроса? Заранее спасибо.
Прикрепляю ссылку на архив с одной из папок, которая генерится в AppData.

A: Столкнулся с подобной проблемой у жены на компе
Короче, прикол в том, что в "Планировщике задач" какая-то программа при установке создала таски на запуск браузера и переход на определенный URL
Еще видел таску, которая запускает не браузер, а приложение из папки Windows OpenWith.exe, которое тебе предлагает самому выбрать браузер, через который открыть)
Называются они в стиле InternetD, InternetB, InternetSC
Стоит выполнение каждые 22 минуты

Соответственно никакие антивирусы и прочее ПО не находит ничего)
Удаляешь таски и всё ок, кстати в инете я не нашел об этом ничего

A: *

*Есть программка malwarebytes anti-malware.

*Еще поискать в реестре что-нибудь по ключевым словам (например, название сайта). Можно программкой regedit

*В свойствах браузера посмотреть, не приписано ли что-нибудь лишнее после пути к .exe

A: Можете попробовать следующие трюки:

*

*Найдите папки, которые создает вирус для своей работы. Удалите их, создав на их месте одноименные файлы (если папка была без расширения - то и файл надо создавать без расширения, это важно!).

*Найдите папки, которые создает вирус для своей работы. Отредактируйте права на эти папки, выставив для группы "All Users"/"Все" полный запрет доступа.

redpajama_set_name: RedPajamaStackExchange


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You can never be too old to not love dinosaurs. There is just something mysterious about the long ago creatures that captivates the imagination of both old and young. Now, you may never own any sort of dinosaur bone, and unless they go all Jurassic Park in the DNA engineering room, you probably also are not going to see a living dinosaur any time soon.
However, that does not mean you can't enjoy a bit of these mysterious animals all on your own. With the help of the Dino Pet Micro Aquarium Dinoflagellates, this breathtaking display of artistic craftsmanship comes to life right in front of you. Now, it is not going to run a muck on your desk and start knocking over important files. Instead, it is going to come alive with a new brilliant glow when used at night. The swirling colors are unlike anything else you have probably used before, which is exactly why you need to check out the Bioluminescent Dinosaur.
With the Bioluminescent Dinosaur, it is an all new kind of pet that actually photosynthesizes throughout the day. Due to this process, it allows the dinosaur to actually glow at night. There is a blue light constructed into the glass material, which in turn allows the pet to glow a truly beautiful color. It is something that is going to stand out in any room. It really is amazing and is going to become the catch of any dinosaur lover.
Now, sometimes it can be a bit difficult to work at your desk at night. After all, there are probably other activities you probably want to be doing. This does not mean you are not able to have fun though. With this glowing glass dinosaur sitting on your desk, the only thing you risk is losing track of time as you stare off into the glassy colors of this true beauty.
The bioluminescent dinosaur uses natural sunlight, nutrients are provided in the accompanied dino food and water (along with the included batteries for electricity), it is possible to watch the photosynthesizes process occur right in the palm of your hand. Best of all, it takes place in the shape of a dinosaur. I love it and you should too!
There really is no limit to where you can enjoy the cute and awesome bioluminescent dinosaur. While it is possible to just place it in home on a nightstand, desk or other location, you can also take it to work. After all, sometimes you just need an entertaining object around your desk to keep you from going insane inside the cubicle. In order to avoid going insane, you should do whatever you can, as the long hours of work can be a bit of a wear and tear on your mental state. However, with the bioluminescent dinosaur, this is no longer a problem. The optically clear micro aquarium is breathtaking and it is going to be the perfect addition to any room, regardless of what room it is. Buy it and love it!


text:
Emerson Estridge
Sarah Mason 13th Jan, 2021
A FORMER West Midlands Police officer has been jailed for having sex and sending flirty messages to victims of crime while on duty.
Emerson Estridge, aged 45, from Highland Road, Leamington, admitted four counts of corruption at a court hearing last December.
The 45-year-old was a constable in Solihull but moved to the operational support unit shortly before he was arrested.
He was sentenced to 18 months jail at Birmingham Crown Court.
West Midlands Police originally charged him with six counts of improper use of his police powers and privileges and one count of sexual assault.
Estridge preyed on victims of crime he met while on duty, to develop personal and sexual relationships.
He admitted sending flirtatious texts and photos and having sex on one occasion, while on duty.
Estridge resigned from the force in June 2019 after the allegations came to light.
A hearing held in July 2019 found that he would have been dismissed had he not resigned.
Deputy chief constable Vanessa Jardine said: "Estridge took advantage of his position as a member of West Midlands Police to pursue improper relationships for sexual and emotional gain.
"This was completely unacceptable and a clear breach of the standards of professional behaviour.
"A proactive investigation by our Counter Corruption Unit identified the gravity of offending and led to Estridge pleading guilty.
"It is disappointing we've recently seen two ex-colleagues convicted after developing inappropriate relationships with people they've met while at work. There is no place for this type of behaviour in our organisation.
"Estridge abused his position, his actions were appalling and my thoughts are with the people affected by them.
"Serving and protecting the public is paramount and it is vital that our communities have the utmost trust and confidence in everything that we do."
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Former police constab...

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Come to the Chat Auditorium to talk to some of the leading lights in the world of games. Make sure to read the rules below, and get your questions ready!
All chats take place at 8:30 P.M. East Time, unless noted.
All events take place at the "Community" chatroom. Please make sure you understand the rules before participating.
In order to allow all members to participate, and to get as many of their questions answered as possible, these chats are mediated events with some easy-to-follow rules: When you enter the room, please do not talk when entering this chatroom. You will be able to talk but please do not chat. The Host of the Chat Room is called a Moderator; and this person allows you to ask questions to the guests. Note: The Chat events should not be used for technical support questions. When it's your turn, the Moderator will ask you to speak, and your Member ID will be bumped up to Asking mode. You will then be able to ask your question of the guest. Use points of ellipsis (that is, three periods, ". . .") at the end of your question if you run out of space and would like to ask more. When done with your question, type "ga" so our guest can answer. At the Moderator's discretion, you may get one follow-up question. Follow the same format as noted above. After the follow-up question, the next person in the queue will be recognized. If you break any of these rules, you may forfeit your place in the queue, and your status may change to banned or kicked until the meeting is over.
In order to allow all members to participate, and to get as many of their questions answered as possible, these chats are mediated events with some easy-to-follow rules: When you enter the room, you are in Watching mode and will not be able to chat. The Host of the Chat Room is called a Moderator; and this person allows you to ask questions to the guests. Note: The Chat events should not be used for technical support questions. If you would like to ask a question, choose Ask Question from the Chat pull-down menu. This will place your Member ID in the Waiting mode in the column on the right. When it's your turn, the Moderator will ask you to speak, and your Member ID will be bumped up to Asking mode. You will then be able to ask your question of the guest. Use points of ellipsis (that is, three periods, ". . .") at the end of your question if you run out of space and would like to ask more. When done with your question, type "ga" so our guest can answer. At the Moderator's discretion, you may get one follow-up question. Follow the same format as noted above. After the follow-up question, the next person in the queue will be recognized. Please wait until your Member ID shows in the Asking category before sending your message. If you break any of these rules, you may forfeit your place in the queue, and your status may change to Watching mode only.
Mechcommander Gold (Monday - Night) EVENT!
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People and Chat "Community Meeting"


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23/05/1993 · Then pry the board away from the rafter ends or from the separating board, the fascia backer. If the wood to which the fascia was attached is decayed, it also has to be repaired.
If you see a rotted rafter, you should take steps to identify the source of moisture that is causing the decay. This includes repairing any leaks in the roof above the rafter.
Repair of rotted rafter tails and fascia · The two lower ends of the rafter that are rotted are then tied together from splaying out horizontally by a wooden beam from rafter end to rafter end.


Be alerted when Joan Osborne - The Songs of Bob Dylan: Vol. 1 (Vinyl LP) is back in stock.
A notification will be sent to when the Joan Osborne - The Songs of Bob Dylan: Vol. 1 (Vinyl LP) is back in stock.
On Songs of Bob Dylan, Joan Osborne unleashes her sizable gifts as a vocalist and interpreter upon The Bard's celebrated canon. With performances honed by the time Osborne spent polishing them during "Joan Osborne Sings The Songs Of Bob Dylan" – two critically acclaimed two-week residencies she performed at New York City's Café Carlyle in March 2016 and 2017, the seven-time Grammy-nominated, multi-platinum-selling singer and songwriter, whom The New York Times has called "a fiercely intelligent, no-nonsense singer," winds her supple, soulful voice around Dylan's poetic, evocative lyrics, etching gleaming new facets in them along the way.
"I try not to do a straight-up imitation of what someone else has done," Osborne says. "Like if you're going to sing an Otis Redding song, you're never going to out-Otis him so you shouldn't even try. So I always try to find some unique way into the song, and also to pick songs where the intersection between the song and my voice hits some kind of sweet spot. It was a joy being able to sing these brilliant lyrics. It's like an actor being given a great part. You are just so excited to say these lines because they're so powerful that it lifts you up above yourself."
The album spans Dylan's beloved standards from the '60s and '70s ("Masters of War," "Highway 61 Revisited," "Rainy Day Women #12 & 35," "Buckets of Rain,""Tangled Up In Blue") to some of Osborne's favorites from his later albums,including "Dark Eyes" (from 1985's Empire Burlesque), "Ring Them Bells" (from 1989's Oh Mercy), "Tryin' To Get To Heaven" (from 1997's Time Out of Mind),and "High Water" (from 2001's Love and Theft). "His versions are legendary and I'm not trying to improve on them," Osborne adds. "I'm just trying to sing beautiful songs and let people hear them. It's about trying to give a different shade of meaning to something that's already great. I happen to think Dylan is a great singer, but I will never, in a million years, sound like him, which almost made it easier."


text:
Q: Adding a BoardView extends View class to a linearlayout How do I add a view to LinearLayout? I have a class named BoardView that extends View, and I want to add it to a LinearLayout. My code looks like this:
protected void onCreate(Bundle savedInstanceState){
  super.onCreate(savedInstanceState);

  board = new Board();
  boardView = new BoardView(this, board);
  board.addObserver(boardView);
  setContentView(boardView);
}

and I tried something like this:
LinearLayout boardgame = (LinearLayout)  findViewById(R.id.boardgame);
linBoardGame.addView(boardview);
setContentView(boardgame);

unfortunately this returns a NullPointerException.
same exception for adding
<com.example.abc.def.BoardView
android:id="@+id/view"
android:layout_width="fill_parent"
android:layout_height="wrap_content"/>

to game_activity.xml file.

A: To add view inside a ViewGroup you first have to have a ViewGroup in Activity.
So have a ViewGroup in Activity's xml .
<LinearLayout xmlns:android="http://schemas.android.com/apk/res/android"
android:layout_width="match_parent"
android:orientation="vertical"
android:layout_height="wrap_content"
android:id="@+id/boardgame"
>

</LinearLayout>

Then add the view to ViewGroup.
protected void onCreate(Bundle savedInstanceState){
    super.onCreate(savedInstanceState);
    setContentView(R.layout.actity_layout);
    board = new Board();
    boardView = new BoardView(this, board);
    board.addObserver(boardView);
    LinearLayout boardgame = (LinearLayout)  findViewById(R.id.boardgame);
    linBoardGame.addView(boardview);
}


text:
layout: post
title: Refining the play scala actions
category: scala
tags: scala functional-programming play

---

[Play scala](https://www.playframework.com/) is a web architecture that lets a scala developer to write REST APIs quite easily. One sees a lot of tutorials and samples that implement the actions in somewhat this form

{% highlight scala linenos %}
def normal: Action[AnyContent] = Action.async { implicit request: Request[AnyContent] =>
    Location.locationForm.bindFromRequest().fold(
      errors => Future.successful(BadRequest(errors.errorsAsJson)),
      success => for {
        either <- hogwartsService.fetchHorcrux(success)
      } yield {
        either match {
          case Left(e: OpsFailed) => InternalServerError(Json.toJson(e))
          case Right(horcrux) => Ok(Json.toJson(horcrux))
        }
      }
    )
}
{% endhighlight %}

I feel that this sample contains a lot of noise. If we look closely, the crux of the work being done here is revolving aroud the following lines

{% highlight scala linenos %}
hogwartsService.fetchHorcrux(success)
Ok(Json.toJson(horcrux))
{% endhighlight %}

where we interacting with the domain service layer and then sending back the result from there. The rest of the code is mostly about a common pattern which binds the json body with the model object and proceeds further or fails depending upon whether request is valid or not.

Why not take away all this common work and refine the action definition to its bare necessities. For this, of course, we put this boilerplate code in a common function. One approach we could follow is to create a generic action that can work with different forms

{% highlight scala linenos %}
def asyncFormAction[T](form: Form[T])(api: (T, CommonHeaders.type) => Future[Result]): Action[AnyContent] = async { implicit request: Request[AnyContent] =>
   form.bindFromRequest().fold({
      (errors: Form[T]) => Future.successful(handleErrors(errors))
    }, {
      (requestObj: T) => api(requestObj, CommonHeaders)
    })
}

private def handleErrors[T](errors: Form[T]): Result = BadRequest(errors.errorsAsJson)
{% endhighlight %}

and a generic result generator that can take scala objects which are json writable

{% highlight scala linenos %}
def toResult[T](either: Either[OpsFailed, T])(onSuccess: T => Result) = either match {
    case Left(opsFailed) => InternalServerError(toJson(opsFailed))
    case Right(t) => onSuccess(t)
}

def toJsonResult[T](either: Either[OpsFailed, T])(implicit writes: Writes[T]) = toResult(either)(x => Ok(toJson(x)))
{% endhighlight %}

With the above pieces in place, our action defintion in the controller is shortened to this

{% highlight scala linenos %}
def refined: Action[AnyContent] = asyncFormAction(Location.locationForm)((obj: Location, ch: CommonHeaders.type) => for {
    either <- hogwartsService.fetchHorcrux(obj)
  } yield toJsonResult(either)
)
{% endhighlight %}

which only is about the crux of the work we are doing in the controller api. Another advantage of extracting out the form validation and initial request handling to a common function is that one can always also add the logic to extract some common headers related to domain. This is especially useful when one is using [JWT](https://jwt.io/) or similiar technolgies for validations of the requests.

It is also possible to compose the actions in case we need to do a specific request handling like extracting a special header for one-off api.

Feel free to explore the full code in the [github repository](https://github.com/abbi-gaurav/ReactiveMongoPlay) and the controller [HarryPotter.scala](https://github.com/abbi-gaurav/ReactiveMongoPlay/blob/master/app/com/gabbi/controllers/HarryPotter.scala)

redpajama_set_name: RedPajamaGithub


text:
<?php

namespace core\components\widgets\eventlisteners;

use core\components\caching\eventlisteners\AbstractCachableListener;
use core\components\widgets\models\SystemWidget;

/**
 * LoadSystemWidgetsListener
 *
 * @author Dave Meikle
 */
class LoadSystemWidgetsListener extends AbstractCachableListener {

    public function on_request_start($param) {
        $systemWidget = new SystemWidget($this->httpRequest, $this->httpResponse, $this->logger);

        $params = array('ymlKey' => __YML_KEY);

        $datasource = $this->getDatasource($systemWidget);

        $results = $datasource->query('get', $systemWidget, 'list', $params);
        if (is_array($results) && array_key_exists('WidgetsSystems', $results)) {
            $this->httpRequest->setAttribute('SystemWidgets', $results['WidgetsSystems']);
        }
        echo "here is results";
        pr($results);
    }

}


John Rourke is a UK based professional photographer who runs Adrenal Media, the official Photographic agency for the renowned auto races FIA World Endurance Championships and European Le Mans Series. He also works on model folios, magazine editorials, general photo commissions, and even a little design and video work under John Rourke Creative Ltd. We caught up with John in between his busy race schedule to get to know the guy behind the camera.
I have always been arty, it runs in the family really, I grew up watching my mother draw and paint. If i'm not shooting, I'm drawing or sketching. I never leave home without at least one camera, a sketchbook and a pocket full of pens!
My passion in photography started as a young boy, when aged around 8, I was given my first camera as part of a children's spy kit. I can still recall the cheap black plastic 35mm and its fixed plastic lens, and how I had to make a single roll of film last for a month or two. I used that camera for my first ever "official" photo shoot. My uncle had a shiny brand new Triumph TR7 (not so cool now…lol), which he had just crashed. He asked me to take some photos to send to the insurance company, and so he paid me with a new roll of film. After that, I was hooked.
Film will always stay in my heart, and I still shoot it whenever I can. I shoot on a Hasselblad XPan, my original Canon A1 and a Mamiya C33, and sometimes even a bit of Pinhole when time allows. I think I'm starting to collect cameras!
How did you get involved with Motorsports Photography?
My first motorsports gig was for a friend who borrowed an open seat race car, for a race at Silverstone. But then he trashed it! I don't think he even made the first lap, so we all sat around and drank a huge amount of champagne in the hospitality box instead… I still got some great shots though! After that it was a few years before I got back to a circuit. I did a few commissioned projects for various races then, at the beginning of 2014, the phone rang out of the blue. "Would you be interested in shooting the whole of the 2014 FIA WEC…oh that would include the ELMS and the 24hr of Le Mans? Can you send us 20 of your best images…oh and a quote?" Of course I said YES! I put the phone down and hit PANIC MODE! I didn't even know where some of these race tracks were or how to get them, but hey, the deep end is a great place to learn.
I had to get a 2nd photographer, an editor/3rd shooter, some gear like a 400 2.8 lens, a web site to host it, a new laptop to handle the editing, and more hard drives. It was a busy crazy few weeks and lots of investment into it, and it's been all GO GO GO ever since! It's an epic ride traveling the world, shooting fast cars and drivers! I have had worse jobs.
We capture the main events, the human emotion, and all the details that make both race series epic. We shoot everything with a small dedicated team who work extremely hard shooting all the marketing images, new drivers, new cars, new staff, hospitality areas, sponsors, the circuit, and the establishing shots. Then we shoot the event itself, including fan areas, autograph sessions, grid walks, social media events, interviews, press releases. Finally the race; start, corners, pans, special moments, pit lane action, pit stops, driver changes, the mechanics, paddocks, everything… it keeps you busy! All this has to be edited, and constantly uploaded through out the event to feed social media, journalists, and media outlets.
Arty, atmospheric, gritty, textures, stills or slices of action from a moment of time, I want people to feel, smell and be in the moment…I want the viewer to be wrapped up in the images, to feel the passion, to feel like they experienced the moment.
For years, I spent all my time taking all the crap, dirt, flares, noise and other things out of images, now that digital is so crisp, sharp and clean I spend forever put it all back in…its a crazy world!
I am always looking for that organic, "real feel" vibe.. I guess it's from shooting film for many years, and Lens distortions gives me that "feel". The best thing is it looks like it was shot in the camera.
You're pretty active on Instagram. We're curious to hear about your experience with it as a professional photographer.
Instagram is a great way to get your images seen around the world. The whole phone camera concept has really changed. I mean, you can now be an "Instagram Brand Shooter." How cool is that?! Its all part of the evolution of the captured image.
My current workflow is to capture on the iPhone 6+ directly, (the camera is fantastic!) or the Fuji XT1 by Wi-Fi remote and send the images from the camera to the phone. Next it's into Snapseed for the main edit, VSCOcam or others for "the look or flavour" I'm after, then into Lens Distortions (The latest update is truly epic!) for the atmosphere, and maybe a final tweak in Snapseed before posting to Instagram.
Any advice you'd care to share with fellow photographers?
Don't be afraid of shooting stuff that's difficult, it's the best way to learn. I learned so much shooting weddings, street, events, portraits, etc, which turned out to be perfect experience for the job I do now. In the Pit lane, I draw from my street photography, capturing candids, actions, details, and emotions. For marketing images, I look back on my weddings styles and advertising. With the drivers, it's about the fashion, editorial, and portrait experience! See, it's all there! The learning never stops… take your time and enjoy the learning, enjoy the ride, this is what will make you a great creative.
oh, wear sun screen out side when working and don't work for free!


text:
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text:
Ida Barney, née le  à New Haven et morte le  à New Haven, est une mathématicienne, astronome et universitaire américaine, plus particulièrement connue pour son ouvrage en vingt-deux volumes d'astrométrie portant sur environ  étoiles. Elle reçoit en 1952 le prix d'astronomie Annie J. Cannon.

Famille et études
Fille d'Ida (Bushnell) et de Samuel Eben Barney, elle est née à New Haven dans le Connecticut. C'est une passionnée d'observation ornithologique et elle a présidé de nombreuses années le New Haven Bird Club (Club ornithologique de New Haven).

En 1908, Ida Barney obtient son Bachelor of Arts du Smith College où elle devient membre de deux sociétés réservées aux étudiants les plus brillants des États-Unis la Phi Beta Kappa et la Sigma Xi. Trois ans plus tard elle obtient son Ph.D. en mathématiques à l'université Yale.

Carrière

De 1911 à 1912, juste après son doctorat, Ida Barney enseigne les mathématiques au Rollins College à Winter Park en Floride, puis dans son alma mater du Smith College, jusqu'en 1917. Elle est alors nommée professeur au Lake Erie College. Elle devient professeur assistant au Smith College en 1920, puis assistante de recherche, en 1922, et chercheur associé, en 1949, au Yale University Observatory.

L'observatoire, comme celui d'autres universités à cette époque, octroie des ressources importantes à l'astrométrie. Au début de sa carrière d'astronome, Barney travaille pour Frank Schlesinger. Elle reporte la position des étoiles à partir de plaques photographiques et calcule leurs coordonnées célestes grâce à leurs positions sur ces plaques. C'est un travail fastidieux que Schlesinger lui délègue car il le pense adapté aux femmes qui, selon lui, sont incapables de recherches théoriques. Malgré ce que pense son directeur de recherches, elle développe plusieurs méthodes contribuant à améliorer, à la fois, la précision et la rapidité des mesures, ainsi qu'un appareil de centrage automatique des plaques photographiques.

L'œuvre de sa vie, réalisée sur plus de vingt-trois années, est sa contribution au Yale Observatory Zone Catalog, une série de catalogue d'étoiles publiés par l'observatoire de Yale de 1939 à 1983. Ces ouvrages recensent plus de  étoiles et sont aussi repris par le Bright Star Catalogue. La contribution personnelle de Barney à ces catalogues porte sur près de  étoiles dont elle a déterminé la position, la magnitude apparente et le mouvement propre. Grâce à la grande précision de ses travaux, le catalogue est encore utilisé aujourd'hui pour les études de mouvement propre.

Ida Barney se retire de la vie académique en 1955 et c'est Ellen Dorrit Hoffleit qui lui succède. Après sa retraite de Yale, elle vit à New Haven, où elle meurt le , âgée de 95 ans et repose au Grove Street Cemetery.

Honneurs et récompenses
Alors qu'elle est chercheur associé au Yale University Observatory, en 1952, Barney reçoit le prix d'astronomie Annie J. Cannon, une prestigieuse récompense décernée par l'American Astronomical Society.

Le planétoïde Barney 1159 T-2 ((5655) Barney), un petit corps de la ceinture principale découvert le , par Ingrid van Houten-Groeneveld à l'observatoire Palomar, est ainsi nommé en son honneur.

Bibliographie

Notes et références

Liens externes

Naissance en novembre 1886
Naissance à New Haven
Décès en mars 1982
Décès à New Haven
Décès à 95 ans
Astronome américain du XXe siècle
Femme astronome
Astrométrie
Étudiant de l'université Yale
Étudiant du Smith College
Professeur à l'université Yale
Professeur au Smith College
Lauréate du prix d'astronomie Annie J. Cannon

redpajama_set_name: RedPajamaWikipedia


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While Bob and I were working on the Andante in Vero Beach we made the trip up to Titusville, just west across the Indian River from Cape Canaveral, to watch the launch of Discovery, the 119th shuttle launch. Titusville itself is really showing the signs of NASA's budget reductions and the current recession with lots of boarded up strip malls and service stations. We arrived about two hours before the 7:43 PM launch time and found an empty lot with river-front access and settled in for a great two-minute show. The timing of the launch, at sunset, provided incredible colors. If you can make the trip for a launch, you should!
Pictures in the photo collage are courtesy of NASA's Picture of the Day Web site.


text:
What should I know before accepting a guru?
by Lion's Roar Staff| October 3, 2017
I'm interested in Tibetan Buddhism, but I'm uncomfortable about the principle of guru devotion, which seems hierarchical and potentially exploitive. What should I know before accepting a guru?
Illustration by Nolan Pelletier.
All schools of Buddhism celebrate the teacher, who helps us to awaken and eases our suffering. How could you not honor such a person? But the teacher-student relationship in Vajrayana Buddhism is particularly intense and personal, maybe even slightly draconian. The guru is totally committed to your enlightenment, knows all your ego tricks, and is willing to call you on them. It's risky to give someone that much power, which is why it's said you have to find the perfect teacher. That doesn't mean he or she is infallible. But it does mean they're completely committed to others and are not using their position for status, money, or any other form of personal gain. If you find such a person, and are willing commit to them, it is said they will show you that your true nature and theirs are the same—enlightened.
Topics: Beginner's Mind, FAQs, Lion's Roar - May '17, Student–Teacher Relationship, Teachings
When a Buddhist Teacher Crosses the Line
by Yongey Mingyur Rinpoche
Letter to Sogyal Rinpoche from current and ex-Rigpa members details abuse allegations
by Rod Meade Sperry
Guidelines for Choosing a Buddhist Teacher
by Lewis Richmond


We mix creativity and magic to make people smile.
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The core competence of WELLTIME is design, development and implementation of IT Projects. We have developed and delivered different applications. Our applications have the capability to engage at any level of the Information Technology project lifecycle.
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text:
Q: why receiving 2 letters when using telnet? I am looking this page:http://netty.io/wiki/user-guide-for-4.x.html

when I use 'telnet 127.0.0.1 8080' and send some letters:

why..?

A: Because it first "prints" what you entered there and then also what is echoed back.
This should give you a better idea:

echo "test" | nc 127.0.0.1 8080


Somewhere along the path from Thoreau thru Ghandi thru MLK Jr to the present, the progressive movement decided that nonviolent civil disobedience was the premier way to bring positive change into the world.
Maybe it is, sometimes. But practicing nonviolent civil disobedience for the sake of practicing nonviolent civil disobedience is probably counterproductive, in the same way that using antibiotics for every ailment is counterproductive. Different problems require different solutions.
Nonviolence is a tactic, not a goal. It has the best chance of working when it is used intelligently in pursuit of a goal. It works best when practiced by disciplined individuals who are not afraid to stand their ground and die, if necessary, when assaulted by authority. It works best when these individuals conduct themselves in a way that highlights their basic human rights. It works best when these individuals break laws in ways that win sympathy from viewers around the world.
There have been many protests about the US invasion of Iraq. More protests than I will ever know about. And more are coming!
Aren't many of these illegal protests self-indulgent? Are they designed to build sympathy for a cause, or are they designed to vent personal anger? Are they targeted toward symbolic acts that will resonate in the minds of viewers, or are they intended as an expression of political sanctimony?
Protesting a bad government decision is a valid expression of human rights. But some forms of "protest" seem more like temper tantrums to me — a bunch of angry people who didn't get their way and who don't respect the democratic decision-making process.
For example — if a local government strangely decided to outlaw bicycling on all city streets, then it would make great political theater to get a group together to protest the law by notoriously bicycling on city streets. It would not make much sense to protest this law by removing clothes en masse in front of City Hall.
A protest makes more sense to the rest of the world, and brings sympathy from the rest of the world, when the protest has some sort of symbolic link to the problem it addresses. For example — a respectful and prayerful candlelight vigil to protest the death penalty makes a lot more sense than blocking rush hour traffic to protest the death penalty.
When we inconvenience others in ways that have no symbolic connection to our grievance, we can not expect to win their sympathies. And in a country that is ruled by public opinion polls, sympathy is the entire ball game.
If you live in a democracy, and something your government does upsets you, you have the perfect right to contact your elected officials, to vote, to organize opposition, to boycott corporations or geographic locations, to publish your opinion, and to organize legal protests. If you have done all of these things, and the majority of your fellow citizens still disagree with you, then think carefully about how you might use the tactic of civil disobedience to sway opinions in your favor. But please, don't insist on using civil disobedience until you've thought things through. How will this action help you to achieve your goals? Are you doing this because you want to get arrested, or are you doing this because you believe it will generate sympathy for your cause?
I think many people who line up to get arrested believe they are engaging in the strongest possible protest by doing so. I think the strongest possible protest is the one that convinces people to agree with the protesters.


Asia's low-cost carrier, AirAsia, has launched direct flights between Kota Kinabalu in East Malaysia and Taiwan's capital, Taipei, from as little as £280 return.
Emirates, the international airline of the United Arab Emirates, on Monday added an extra daily connection between its home base of Dubai and the Malaysian capital, Kuala Lumpur, bringing the total number to 21 weekly, non-stop flights.
February 14th may be Valentine's Day but in 2010 it is also the time to welcome in the Year of the Tiger as Chinese New Year falls on the same day.
From 2 – 18 January 2010 Malaysia Airlines is holding a special sale to mark the new decade. The 5-star airline is offering all-inclusive fares to the whole of South East Asia from £519 return and Australasia from £639 return, for travel from 15 April to 31 May 2010*.
The multi award winning Pangkor Laut Resort, voted Best Hotel by members of The Club of Small Luxury Hotels of the World (SLH) this year, is offering a chance to experience a week in one of their luxury Hill or Garden Villas for the cost of a five night stay.
Head to Kuala Lumpur for the 2010 Petronas Malaysian Grand Prix and watch Jenson Button and Lewis Hamilton battle it out in the third race of the season.
The Malaysian State of Sarawak on the island of Borneo is one of South East Asia's best-kept secrets and a true adventurer's paradise.
Malaysia has been chosen as one of the world's top ten countries for 2010 by Lonely Planet in its fifth annual collection of the world's best journeys, destinations and experiences; the only South-East Asian country to make the list.
Book by 30 November and save up to £774 per couple on a stay at one the world's premier private islands, Pangkor Laut Resort in Malaysia.
The Far East looks unbeatable value for winter sun trips according to the latest annual Long Haul Holiday Report from Post Office Travel Services.
Qantas Holidays is offering 75 cruise options as part of their new fly cruise programme with prices starting from £999 for a 14-night tour of the Far East.


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When Frogs Pull the Curtain: The Benefits of Mating in Secret
Smithsonian's new curator of frogs explains why some frogs seek privacy when they mate
Jackson Landers
A pair of Scinax alcatraz frogs discreetly lay their eggs in a water-filled plant. Kelly R. Zamudio
You might think that the tendency to hide while mating is distinctly human—but actually, frogs can get a little shy too. While most frog species mate and lay their eggs in busy pools of water, others see the perks in getting away from prying eyes. Newly published research by Rayna Bell, Smithsonian's new Curator of Amphibians and Reptiles at the National Museum of Natural History, suggests that biologists were all wrong about why those frogs seek privacy.
The conventional wisdom was that frogs that lay their eggs in odd places are just trying to evade predators. But according to Bell, this reproductive strategy is mostly about evading sexual competitors.
"What you will see is the male holds on to the female. It's called amplexus," says Bell. "They hang out like that for a while and the male is usually depositing sperm as she is depositing the eggs." But in a pool full of other frogs, "what happens is you can have multiple males hanging on to each other's legs at the same time" in a competition to fertilize the same eggs (fertilization takes place externally).
Bell co-authored a recent paper, led by Kelly Zamudio of Cornell University, that analyzed the mating behaviors of many different species of frogs from two different taxonomic groups distributed around the world. The analysis grew, in part, from her experiences studying frog populations in Central Africa and Australia. The paper draws several new conclusions about evolutionary biology.
Breeding away from conventional pools of water is referred to as "terrestrial reproduction." Some terrestrial breeders seek out tiny pools of water created at the centers of large plants. Others dig their own pools out of the ground. One species builds a mud hut, within which the male seals himself and his paramour with only a small hole for a frog face to poke out of while they mate.
By getting away from other frogs, the male can be sure that all of the eggs will be fertilized by his sperm. But why should the female go along with this. According to Bell, males of species that engage in terrestrial reproduction are more likely to help guard the eggs and young. "Obviously females benefit from males contributing to taking care of the offspring," says Bell. "Males are more likely to do that if they feel good that they are the fathers."
The females are also more likely to emerge unscathed from mating in terrestrial scenarios versus aquatic environments with a lot of other males around. "We find that in these big breeding situations it can get a little violent and crazy," says Bell. "Some individuals can be harmed or killed in those scrambles. So she's losing energy and potentially getting smothered in a huge breeding mass."
Bell's data and previous studies have found that frog species in tropical areas are more likely to be terrestrial breeders versus frogs outside of the tropics. While the study does not determine for certain why this is, she has a theory. "Because amphibian [eggs] don't have a hard shell," Bell points out. "It's more humid in the tropics and you don't have to worry about them drying out. And there is a lot of diversity of [frog] species is in the tropics."
Bell and her colleagues also found that males of terrestrial-breeding species tend to have smaller testes, which produce less sperm than those of non-terrestrial breeders.
It is possible that in long run it could be dangerous for a frog to depend on things like a particular plant to provide breeding structure. "There's kind of a basic assumption that the more specialized your needs are, the more susceptible you are to extinction," says Bell. However, the scope of the study did not include investigating potential drawbacks to terrestrial breeding.
Bell comes to Smithsonian from Cornell University, where she received her Ph.D. in Ecology and Evolutionary Biology. She has conducted field work in places including Gabon, Equatorial Guinea, Panama and Alaska.
"I did not grow up a frog lover," says Bell. "But I took a herpetology class my junior year and that was also at the same time I started working in a lab that worked on reptiles and amphibians... The very first place where I did field work was Australia as an undergraduate student. That was the solidifying moment."
Bell is looking forward to working with both the material and human resources available at Smithsonian. "The collection is insane!" she says. "In terms of depth and breadth of what's there. And the people for sure... The depth and breadth of expertise that's here. The types of questions that we are contributing to here. When we combine our expertise, it's amazing, the kind of work we can do jointly."
As Smithsonian's new curator overseeing frogs, Bell will be focusing on a group of animals that is facing rapid extinctions around the world.
"I'm planning to mostly focus on working in Central Africa," Bell says. "That's mostly because we're at this stage where we can't try to save things when we don't even know they exist in the first place. If you don't know what kind of habitat they need, you don't have any hope. [Central Africa] is a place where there is still high biodiversity and still time to make policy changes. That is going to be an important place to be."
A nest of foam made by Physalaemus atlanticus. Marcelo Kokubum
A emale Leptodactylus podicipinus frog guards a school of tadpoles, which develop in the water. Harry Greene
Tadpoles of Adenomera sp. (aff. hylaedactyla) develop inside an underground chamber (opened for visualization) Marcelo Kokubum
A femaleLeptodactylus latrans frog guards her egg clutch within a foam nest. Daniel Loebmann
A nest of Phyllomedusa nordestina, consisting of a folded leaf. Daniel Loebmann
Aquatic foam nest of Scinax rizibilis Marcelo Kokubum
A pair of Physalaemus cuvieri frogs make a foam nest on the water. Daniel Loebmann
Eggs of Trachycephalus mesophaeus frogs are deposited directly in water. Daniel Loebmann
This egg mass of Dendropsophus berthaluzae hangs from a leaf. Marcelo Kokubum
This artist's conception shows a dim red dwarf surrounded by three planets. To hold life at their surface, red dwarf planets must orbit close to their star, putting them in the line of fire from dangerous flares. NASA / JPL-Caltech
Not always your friend. StockFinland / iStock
Engraving of a woolly mammoth. Bettmann / Getty Images
Jackson Landers | | READ MORE
Jackson Landers is an author, science writer and adventurer based out of Charlottesville, Virginia, specializing in wildlife out of place. His most recent book, Eating Aliens, chronicles a year and a half spent hunting and fishing for invasive species and finding out whether we can eat our way out of some ecological disasters.
Animals Biology Frogs Sex Smithsonian Weird Animals


Are you hosting a baby shower during the Christmas season? This is the perfect opportunity to celebrate the baby while using Christmas decorations as your backdrop.
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Enquiry from Online Galleries regarding "Napoleon Le Grand"
Napoleon Le Grand engraved by Auguste Boucher Desnoyers after the portrait by Gerard.
Desnoyers (1779-1857) was born before the French Revolution and worked right through the Napoleonic era. This portrait of Napoleon, after Gerard's painting of 1805 to commemorate Napoleon's coronation as Emperor, is one of his most accomplished engravings and is extraordinary for the level of detail it portrays. It shows the Emperor at the height of his powers dressed in full regalia of State.


Many people who have dedicated a tremendous amount of time, energy, and focus into their bodybuilding and training efforts realize that they eventually need to change a few things to earn the overall quality of life that they really want. But how? What are the next steps that they'll need to take in order to get onto this phase of their journey? During this podcast, Skip La Cour talks about the challenges he faced during the uncertain time period between when he stopped competing and when he started to really make progress. Be sure that you listen to this entire podcast. You'll have the opportunity to have Skip help you get on the right track sooner rather than later.


I look back now and I think that although it was a bad time, what has flourished from that has been quite incredible. Not only is Leeds recognised nationally as a hub for great beer drinking venues, providing a never before seen vast choice of high quality beers, but Leeds has shaken off the loss of Tetley's and is now a brewing centre for different reasons. At my last count, we have 23 breweries in the Leeds metropolitan area; something I dare say we wouldn't have if Tetley's were still here.
A few have had time to build up a strong reputation, such as Leeds Brewery, formed in 2007 and now claiming to be Leeds' biggest brewery, and Kirkstall Brewery. Some have only recently broken onto the scene and have helped Leeds evolve from good quality traditional cask ales, to align with the growing trend of palate challenging, flavoursome and different beer styles, such as Wilde Child and North Brewing.
During my time on the Leeds CAMRA committee, I had the opportunity to meet some of the great people who are behind the beer produced in Leeds today. What I didn't realise at the time was that the then Membership Secretary, Katie Marriott, would also go on to join this group. I think at the time, she may not have realised that herself either!
After a brief time away from Leeds, Katie returned to the city and in 2015 joined the brewing team at Whippet, another of Leeds' new breweries although I believe they have now unfortunately ceased trading. On that brewing team was also Ross Nicholson, who made his name as a brewer of great quality and tasty ales whilst at Ridgeside Brewery.
Fast forward two years, and Katie and Ross have moved on from Whippet and now run their own brewery, Nomadic Beers. Brewing on the kit at the Burley Street Brew House (this is in the cellar below the Fox and Newt on Burley Road), Nomadic have quickly established themselves on the Leeds brewing scene by brewing traditional cask ales but with a modern take, such as their 4.9% Oatmeal Pale (I'm quoted on their website "Tastes like you're drinking Hob Nobs!") and more recently the 4.4% Himalaya, a pink grapefruit, pink peppercorn and sea salt Gose, brewed in collaboration with Eyes Brewing. Did Tetley's ever brew anything like that?
As part of Leeds Beer Week 2017, Nomadic presented a Tap Takeover event at Brunswick on North Street. Holding an event like this on its own just shows how far they have come in a very short space of time. They brought with them 4 great beers.
First up, their Vagabond (rebadged as Brunswick Pale), a collaboration with Brunswick. This is a 4.1% pale brewed with Cascade and Galaxy hops, probably my favourite beer on the night. Up next was the 4.4% Strider, which is a classic English Bitter, followed by the aforementioned Himalaya and finally Renegade a 5.4% American Pale Ale. What stood out was not only the flavours, but also the great quality of the beers, which is testament not only to the brewers, but the cellarmanship at the Brunswick too.
With Katie and Ross, you get no nonsense, straight forward and down to earth. Whilst talking to Ross during the takeover, he said that he often listens to other brewers talking about beer, getting into the detail and the science. But for him, he just "likes to brew"; and that for me really is the key to being a successful brewer. Of course, you need to know what you're doing, but when you're passionate about what you do, then that's the fifth ingredient to brewing beer which can't be bought (the other four are, of course, water, barley, hops and yeast!).
You can check out Nomadic Beers on Twitter to find out where their beer is being delivered, cask and bottles available.


Guillaumont, Patrick, McGillivray, Mark and Wagner, Laurent 2017, Performance assessment, vulnerability, human capital, and the allocation of aid among developing countries, World development, vol. 90, pp. 17-26, doi: 10.1016/j.worlddev.2015.05.005.
Developing country performance with respect to economic policies and institutional behavior is a common criterion for the allocation of aid among recipient countries. This paper examines how performance is used, arguing that performance is too narrowly defined. A more appropriate definition is one that controls for the economic vulnerability and human capital of developing countries. Econometric analysis of cross-section and panel data is presented that supports this contention. The paper also contends that performance and exogenous economic shocks are likely to be pro-cyclical. This implies a double punishment when aid is allocated according to performance. Evidence of such punishment is also provided. The paper concludes by arguing that economic vulnerability and human capital variables should augment performance measures in aid allocation decision-making.


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Visual Perception -
Fundamental Processes and Phenomena
John Sappington - john@basearts.com
By exploring the phenomenology of human vision and the nature of light in relation to the use/experience of these phenomena-processes we develop a deeper or more insightful relationship to the process of viewing as well as making visual art. We will take the first half of the workshop to explore the fundamentals of light, color and human vision. In addition, we will experiment with our own vision in order to better understand the workings of the systems that produce this sensory experience as well as the limitations of the human visual system.
In the second half we will create apparatus or devices that manipulate or alter our own vision. Through this process we will investigate perception and how through vision we come to understand and interpret art and the world.
"Vision and Art: The Biology of Seeing", Margaret Livingstone, 2002, Harry N. Abrams, Inc.
"How to Use Your Eyes", James Elkins, 2000, Routledge
" Ways of Seeing", John Berger, ?
"another way of telling", John Berger, Jean Mohr, ?
"Seeing & Writing 2", Donald McQuade / Christine McQuade, 2003, Bedford/St. Martin's
"Vision and Visuality, Discussions in Contemporary Culture", editor Hal Foster, 1988, Bay Press
"Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, Johnthan Curry, 1991,
"The Eye: The Seer and the Seen", Francis Huxley, 1990, Thames and Hudson
"The Optics Book: Fun Experiments with Light, Vision & Color", Shar Levine & Leslie Johnstone, 1999, Sterling Publishing Co.
"Eye Popping Optical Illusions", Michael A. DiSpezio, 2002, Sterling Publishing Co.
http://www.basearts.com/resources.html
Schedule: example
How do we see & How does how we see affect what we are seeing?
What exactly are we seeing?
Define Vision
Define Visual Perception
Nature of Light
A light wave consists of energy in the form of electric and magnetic fields. The fields vibrate at right angles to the direction of movement of the wave, and at right angles to each other. Because light has both electric and magnetic fields, it is also referred to as electromagnetic radiation.
Electromag. energy
Particulate/Wave
Frequency/intensity
Incandecent / luminescent
Nature of Color
Light waves also come in many frequencies. The frequency is the number of waves that pass a point in space during any time interval, usually one second. It is measured in units of cycles (waves) per second, or Hertz (Hz). The frequency of visible light is referred to as color, and ranges from 430 trillion Hz, seen as red, to 750 trillion Hz, seen as violet. Again, the full range of frequencies extends beyond the visible spectrum, from less than one billion Hz, as in radio waves, to greater than 3 billion billion Hz, as in gamma rays.
Color Spectrum
Nature of primary/complimentary
Reflective characteristics of surface / object
Experiments:
· Afterimages
· Prisms - glass/water/oil
· computer - gamut/ spectrum/sliders
Lenses - bending light rays/ virtual and real images
When light rays reach an angulated surface it causes the light rays to bend. This is called refraction.
Light passing through a convex lens, the light rays bend toward the center:
Light passing through a concave lens, the light rays bend away from the center:
Topics/Experiments:
Real / Virtual Images
Lens Elements in Cameras
Vision and the eye
When light enters the eye, it first passes through the cornea, then the aqueous humor, lens and vitreous humor. Ultimately it reaches the retina, which is the light-sensing structure of the eye. The retina contains two types of cells, called rods and cones. Rods handle vision in low light, and cones handle color vision and detail. When light contacts these two types of cells, a series of complex chemical reactions occurs. The chemical that is formed (activated rhodopsin) creates electrical impulses in the optic nerve. Rhodopsin is a mixture of a protein called scotopsin and 11-cis-retinal -- the latter is derived from vitamin A (which is why a lack of vitamin A causes vision problems). Rhodopsin decomposes when it is exposed to light because light causes a physical change in the 11-cis-retinal portion of the rhodopsin, changing it to all-trans retinal. This first reaction takes only a few trillionths of a second. The 11-cis-retinal is an angulated molecule, while all-trans retinal is a straight molecule. This makes the chemical unstable. Rhodopsin breaks down into several intermediate compounds, but eventually (in less than a second) forms metarhodopsin II (activated rhodopsin). This chemical causes electrical impulses that are transmitted to the brain and interpreted as light.
Vision - image or information
Components of the eye
Functions of rod/cone - pigments
Fovea
Cone/Rod
Pathways of signals to and in the brain
Visual Cortex
Higher Level Processing
Center/surround
exampleA
exampleB
· Perspective
· Depth/Distance
· Motion
· Contours
· Edges· edge enhancements
· Figure / ground
· blind spot
· depth perception
· Stereo Stereopsis
· Zoetrope / phenakistoscope
· flip books / Finger animations
Introduction to Perceptual Apparatus
The works that I am presenting express for me the proposition that a work of art is not exclusively an object of passive observation (or the 6-10 second experience of an artists rendition of a pre perceived experience, selection, documentation or framing but, a collaborative engagement and attention to a physical, political, and/or cultural aspect of the world that then potentially produces an aesthetic experience shared by both the participant and the artist.
Our experiences or perceptions are influenced by what we are, how our bodies function, our senses. The phenomenological processes at play in our bodies and the universe as well as the neurological processes and pathways transmitting sensory information form the basis of judgments, opinions, ideas, memories and experiences.
As an artist, my primary concerns are perceptual experience and the construction of meaning. By exploring the impact of altered or manipulated vision through a series of optical devices constructed to restrict or enhance the participants experience of seeing, this body of work invites the viewer to consider what it means to see or generally to perceive ones own experience through the work of art. By disrupting the visual apparatus, my thought was that I am altering the relationship between the perception, the means of perception and the stimulus thus altering the point of view which opens the viewer to a new interpretation of their surroundings and their experience. These optical forms operate as filters between the participant / performer and experience.
In my own investigation of the limitations of static or representational forms of art these optical devices provide a means to explore the relationship between an experience or the memory of an experience and it's translation into a work of art.
Final Projects and Presentations:


I went from Lingstitute to Washington DC, where I did some internet linguistic consulting work, and met up with some DC linguists, including Ann Friedman and several members of the Planet Word Advisory Board, which I am now on as well! I'm excited to be getting involved with this project to create a linguistics museum.
I then went to SpaceWitchCon, in the woods of North Carolina, where I ran a very fun session about internet linguistics (and also did a lot of singalongs and crafting and other excellent nerdery).
Later in the month, I was on live TV with Al Jazeera's The Stream, talking about emoji (watch here), and a post of mine, about how to talk with your academic heroes and other people you admire, was featured on Thesis Whisperer.
This month's Lingthusiasm episode was about Layers of meaning: Cooperation, humour, and Gricean Maxims, and the bonus episode was about language play. We also reached our Patreon interview goal, so you can look forward to hearing guest linguists on Lingthusiasm shortly!
Anyone know of work on autocorrect affecting regionalisms?
This month's photo is a sign from SpaceWitch: the rooms were divided into even and odd sections, so I took this picture for those times when you can't even anymore: here's some even!
I was quoted in this article on Broadly at Vice: The History of Petty Memes.
Episode 5 of Lingthusiasm went up! It's about Colour words around the world and inside your brain. We also posted a quote about Space Pidgin from episode 1 that became very popular.
I also did a short survey about what the winky face emojicon and/or emoji means to you (see also the twitter thread about it for comments).
This month's featured image is a wug that I drew on a volcanic beach near Hilo, Hawai'i, as part of my trip to the International Conference on Language Documentation and Conservation (ICLDC5) at the very end of February. Most of the conference activities happened in March though, so they'll be in next month's very travelly update.
This month, I attended the first EmojiCon in San Francisco. I gave a talk about the mistake people make in assuming that emoji are a language, and three paralinguistic things that emoji do instead (in column form, and here's a visualization of it), and met a lot of interesting people. You can see livetweets from the event at the #EmojiCon hashtag and I'm quoted in this article about it for TIME.
My article on teen girls as language disruptors, which I wrote for Quartz last year, was republished in a print textbook from Oxford University Press, Making Sense of Language, and my copy of the book finally arrived in the mail.
I revised and updated my annual guide for explaining linguistics to your friends and family this holiday season. See also: my archive of linguistmas posts and 2016 linguistics merch.
Is there a sequence of sounds that's an impossible word in EVERY language?
This month's image is a bunch of emoji-themed art by Yiying Lu from the exhibit at EmojiCon. I spent much of the conference deeply embedded in Unicode geekery but the art definitely makes a better photo.
In October, I gave a talk about emoji and why they aren't language at the Dawn or Doom conference at Purdue University. You can see slides here or just look at the fantastic visualization that The Ink Factory made of my talk. I also got to meet Jorge Cham and many other cool people.
I found out that our South by Southwest panel proposal was accepted, so you can look for me in Austin, Texas in 2017 with Ben Zimmer, Jane Solomon, and Erin McKean talking about Word Curation: Dictionaries, Tech, and the Future.
Linguist Twitter had a lot of fun making #SpookyTalesForLinguists happen – see highlights or just go for the whole hashtag.
I ran a linguistics jobs interview with a health writer and noted with great excitement that plans are beginning for an AP linguistics course. I'll be doing a panel about high school linguistics outreach at the LSA annual meeting in January.
I'm currently heading to EmojiCon in San Francisco, where I'll be giving a workshop, so stay tuned for livetweets!
This month's bookshelfie comes from Von's Book Shop near Purdue University, but really, let's just look at that visualization again. Amazing.


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Q: Does Facebook send notifications to my web page by the fb app? I have searched on Google and Fb's documentation about this but didn't find anything.
I've already shared content of my page on Facebook with the Share button provided by FB's api and also made an app on Facebook.
Now I want to receive notifications in my page when someone comments the publication or likes it.
I know that I can consult the posts/comments/likes if the user gives me the permissions, but I don't want to do this every 5 minutes. I want that facebook notifies me like a push notification.
How can I do that if it's possible?
Thanks!

A: After the user shared something on his wall, there is no way for you to get notified about comments/likes on that wall post, unless you authorize the user with user_status or read_stream.
That being said, there is the Realtime API with the feed and statuses fields to subscribe to: https://developers.facebook.com/docs/graph-api/real-time-updates/
That´s probably the best option, although you must authorize the user with the correct permissions too.