text:
Q: SAP BTP Launchpad (Trial) managed HTML5 apps are not visible to catalogs and groups assignment
*

*Built and deployed a simple list fiori app using Business Application Studio as a 'Managed Application Router'

*New App is visible under HTML5 Apps in the BTP cockpit

*In BTP launchpad, new app is visible in Content Explorer and can add it to managed content.

*Can add new app to 'Everyone' Role

*Create a new catalog, but new app is not visible when trying to add apps to the catalog.  All other 'local' apps are and can be assigned to the catalog (or group)

Is there a configuration or setting that must be made e.g. when the app is deployed to BTP to make it possible to launch the managed router app from the central launchpad ?

A: If you're still facing this issue, make sure visualization parameters are configured for your app under Content Manager. This usually gets filled automatically when you add FLP configuration at the time of creating Fiori app from template in BAS (for example) and deploy to BTP. Only apps with visual representation are visible when you assign them to a group or a catalog.

redpajama_set_name: RedPajamaStackExchange


text:
By Michael White on May 12, 2019
Hebrews 10:19-25 How do you normally come to worship? What would Jesus be praying for you this week? What is one way being confident in
Watch Sermon
Unlimited Hope
By Matt Knapp on May 5, 2019
Psalm 146 Have you ever had a hero of yours let you down? What limitations do your current heroes have? What gives you the most
By Michael White on April 28, 2019
1 Peter 1:3-6 If you believed the future was filled with hope, what would change in the present for you? How will this week be
Revolutionary Life
1 Corinthians 15:3,4 What tends to distract you from the main thing? In what area do you need hope? What if it's really true that
Relationship Based
1 Corinthians 10:31-11:1 What's one area where you could think more of other people and less about yourself? Who do you know that you would
Meaningful Service
By Michael White on April 7, 2019
Matthew 20:20-28 What return on investment are you looking for from Jesus? What's the hardest part about serving for you? Where will you find the
Worship Focused
By Angela Rajnus on March 31, 2019
Psalm 8 What is a next step of worship for you? What might be your role in bringing up the next generation? What things has
Integrated Faith
By Michael White on March 24, 2019
1 John 1:5-2:6 Who is the ultimate point of reference in your life? What do you spend more time tending, your body or your soul?
Deliberate Engagement
2 Corinthians 5:16-21 What is keeping you from being all in with God? What coracle is God calling you to? What is one thing you
Intentional Growth
Ephesians 3:14-21 Who or what has the most influence on your thinking? What is the chief priority of your life and should it be? What

redpajama_set_name: RedPajamaCommonCrawl


text:
William Robertson Davies  (28 August 1913 – 2 December 1995) was a Canadian novelist, playwright, critic, journalist, and professor. He was one of Canada's best known and most popular authors and one of its most distinguished "men of letters", a term Davies gladly accepted for himself. Davies was the founding Master of Massey College, a graduate residential college associated with the University of Toronto.

Biography

Early life
Davies was born in Thamesville, Ontario, the third son of William Rupert Davies and Florence Sheppard McKay. Growing up, Davies was surrounded by books and lively language. His father, a member of the Canadian Senate from 1942 to his death in 1967, was a newspaperman from Welshpool, Wales, and both parents were voracious readers. He followed in their footsteps and read everything he could. He also participated in theatrical productions as a child, where he developed a lifelong interest in drama.

He spent his formative years in Renfrew, Ontario (and renamed it as "Blairlogie", in his novel What's Bred in the Bone); many of the novel's characters are named after families he knew there. He attended Upper Canada College in Toronto from 1926 to 1932 and while there attended services at the Church of St. Mary Magdalene. He would later leave the Presbyterian Church and join Anglicanism over objections to Calvinist theology. Davies later used his experience of the ceremonial of High Mass at St. Mary Magdalene's in his novel The Cunning Man.

After Upper Canada College, he studied at Queen's University at Kingston, Ontario, from 1932 until 1935. According to the Queen's University Journal Davies enrolled as a special student not working towards a degree, because he was unable to pass the mathematics component of Queen's entrance exam.  At Queen's he wrote for the student paper, The Queen's Journal, where he wrote a literary column. He left Canada to study at Balliol College, Oxford, where he received a BLitt degree in 1938. The next year he published his thesis, Shakespeare's Boy Actors, and embarked on an acting career outside London. In 1940, he played small roles and did literary work for the director at the Old Vic Repertory Company in London. Also that year, Davies married Australian Brenda Mathews, whom he had met at Oxford, and who was then working as stage manager for the theatre. They spent their honeymoon in the Welsh countryside at Fronfraith Hall, Abermule, Montgomery, the family house owned by Rupert Davies.

Davies's early life provided him with themes and material to which he would often return in his later work, including the theme of Canadians returning to England to finish their education, and the theatre.

Middle years
Davies and his new bride returned to Canada in 1940, where he took the position of literary editor at Saturday Night magazine. Two years later, he became editor of the Peterborough Examiner in the small city of Peterborough, Ontario, northeast of Toronto. Again he was able to mine his experiences here for many of the characters and situations which later appeared in his plays and novels.

Davies, along with family members William Rupert Davies and Arthur Davies, purchased several media outlets. Along with the Examiner newspaper, they owned the Kingston Whig-Standard newspaper, CHEX-AM, CKWS-AM, CHEX-TV, and CKWS-TV.

During his tenure as editor of the Examiner, which lasted from 1942 to 1955 (he subsequently served as publisher from 1955 to 1965), Davies published a total of 18 books, produced several of his own plays, and wrote articles for various journals. Davies set out his theory of acting in his Shakespeare for Young Players (1947), and then put theory into practice when he wrote Eros at Breakfast, a one-act play which was named best Canadian play of the year by the 1948 Dominion Drama Festival.

Eros at Breakfast was followed by Fortune, My Foe in 1949 and At My Heart's Core, a three-act play, in 1950. Meanwhile, Davies was writing humorous essays in the Examiner under the pseudonym Samuel Marchbanks. Some of these were collected and published in The Diary of Samuel Marchbanks (1947), The Table Talk of Samuel Marchbanks (1949), and later in Samuel Marchbanks' Almanack (1967). An omnibus edition of the three Marchbanks books, with new notes by the author, was published under the title The Papers of Samuel Marchbanks in 1985.

During the 1950s, Davies played a major role in launching the Stratford Shakespearean Festival of Canada. He served on the Festival's board of governors, and collaborated with the Festival's director, Sir Tyrone Guthrie, in publishing three books about the Festival's early years.

Although his first love was drama and he had achieved some success with his occasional humorous essays, Davies found his greatest success in fiction. His first three novels, which later became known as The Salterton Trilogy, were Tempest-Tost (1951, originally conceived as a play), Leaven of Malice (1954, also the basis of the unsuccessful play Love and Libel) which won the Stephen Leacock Award for Humour, and A Mixture of Frailties (1958). These novels explored the difficulty of sustaining a cultural life in Canada, and life on a small-town newspaper, subjects of which Davies had first-hand knowledge.

1960s
In 1960, Davies joined Trinity College at the University of Toronto, where he would teach literature until 1981. The following year he published a collection of essays on literature, A Voice From the Attic, and was awarded the Lorne Pierce Medal for his literary achievements.

In 1963, he became the Master of Massey College, the University of Toronto's new graduate college. During his stint as Master, he initiated a tradition of writing and telling ghost stories at the yearly Christmas celebrations. These stories were later collected in the book High Spirits (1982).

1970s

Davies drew on his interest in Jungian psychology to create Fifth Business (1970), a novel that relies heavily on Davies's own experiences, his love of myth and magic, and his knowledge of small-town mores. The narrator, like Davies, is of immigrant Canadian background, with a father who runs the town paper. The book's characters act in roles that roughly correspond to Jungian archetypes according to Davies's belief in the predominance of spirit over the things of the world.

Davies built on the success of Fifth Business with two more novels: The Manticore (1972), a novel cast largely in the form of a Jungian analysis (for which he received that year's Governor General's Literary Award), and World of Wonders (1975). Together these three books came to be known as The Deptford Trilogy.

1980s and 1990s
When Davies retired from his position at the university, his seventh novel, a satire of academic life, The Rebel Angels (1981), was published, followed by What's Bred in the Bone (1985) which was short-listed for the Booker Prize for fiction in 1986. The Lyre of Orpheus (1988) follows these two books in what became known as The Cornish Trilogy.

During his retirement from academe he continued to write novels which further established him as a major figure in the literary world: Murther and Walking Spirits (1991) and The Cunning Man (1994). A third novel in what would have been a further trilogy – the Toronto Trilogy – was in progress at the time of Davies's death. He also realized a long-held dream when he penned the libretto to Randolph Peters' opera: The Golden Ass, based on The Metamorphoses of Lucius Apuleius, just like that written by one of the characters in Davies's 1958 A Mixture of Frailties. The opera was performed by the Canadian Opera Company at the Hummingbird Centre in Toronto, in April 1999, several years after Davies's death.

In its obituary, The Times wrote: "Davies encompassed all the great elements of life ... His novels combined deep seriousness and psychological inquiry with fantasy and exuberant mirth." He remained close friends with John Kenneth Galbraith, attending Galbraith's eighty-fifth birthday party in Boston in 1993, and became so close a friend and colleague of the American novelist John Irving that Irving gave one of the scripture readings at Davies's funeral in the chapel of Trinity College, Toronto. He also wrote in support of Salman Rushdie when the latter was threatened by a fatwā  from Ayatollah Ruhollah Khomeini of Iran in reaction to supposed anti-Islam expression in his novel The Satanic Verses.

Personal life

Davies was married to Brenda Ethel Davies (1917–2013) in 1940 and survived by four grandchildren and three great-grandchildren from his three daughters Miranda Davies, Rosamond Bailey and author Jennifer Surridge.

Davies never learned to drive.  His wife Brenda routinely drove him to events and other excursions.

Awards and recognition
Won the Dominion Drama Festival Award for best Canadian play in 1948 for Eros at Breakfast.
Won the Stephen Leacock Award for Humour in 1955 for Leaven of Malice.
Won the Lorne Pierce Medal for his literary achievements in 1961.
Won the Governor-General's Literary Award in the English language fiction category in 1972 for The Manticore.
Short-listed for the Booker Prize for Fiction in 1986 for What's Bred in the Bone.
Honorary Doctor of Letters, University of Oxford, 1991.
First Canadian to become an Honorary Member of the American Academy and Institute of Arts and Letters.
Companion of the Order of Canada.
Park in Toronto named after him in 2007.

Works

Novels
 The Salterton Trilogy
 Tempest-Tost (1951)
 Leaven of Malice (1954)
 A Mixture of Frailties (1958)
 The Deptford Trilogy
Fifth Business (1970)
The Manticore (1972)
World of Wonders (1975)
 The Cornish Trilogy
The Rebel Angels (1981)
What's Bred in the Bone (1985)
The Lyre of Orpheus (1988)
 The "Toronto Trilogy" (incomplete)
Murther and Walking Spirits (1991)
The Cunning Man (1994)

Essays
Fictional essays
The Diary of Samuel Marchbanks (1947)
The Table Talk of Samuel Marchbanks (1949)
Samuel Marchbanks' Almanack (1967)
edited by the author into:
The Papers of Samuel Marchbanks (1985)

Criticism
Shakespeare's Boy Actors (1939) (as W. Robertson Davies)
Shakespeare for Young Players: A Junior Course (1942)
Renown at Stratford (1953) (with Tyrone Guthrie)
Twice Have the Trumpets Sounded (1954) (with Tyrone Guthrie)
Thrice the Brindled Cat Hath Mew'd (1955) (with Tyrone Guthrie)
A Voice From the Attic (1960) also published as The Personal Art
A Feast of Stephen (1970)
Stephen Leacock (1970)
One Half of Robertson Davies (1977)
The Enthusiasms of Robertson Davies (1979; revised 1990) (edited by Judith Skelton Grant)
The Well-Tempered Critic (1981) (edited by Judith Skelton Grant)
The Mirror of Nature (1983)
Reading and Writing (1993) (two essays, later collected in The Merry Heart)
The Merry Heart (1996)
Happy Alchemy (1997) (edited by Jennifer Surridge and Brenda Davies)

Plays
Overlaid (1948)
Eros at Breakfast (1948)
Hope Deferred (1948)
King Phoenix (1948)
At the Gates of the Righteous (1949)
Fortune My Foe (1949)
The Voice of the People (1949)
At My Heart's Core (1950)
A Masque of Aesop (1952)
Hunting Stuart (1955)
A Jig for the Gypsy (1955)
General Confession (1956)
A Masque of Mr. Punch (1963)
Question Time (1975)
Brothers in the Black Art (1981)

Short story collection
High Spirits (1982)

Libretti
Doctor Canon's Cure (1982)
Jezebel (1993)
The Golden Ass (1999)

Letters and diaries
For Your Eye Alone (2000) (edited by Judith Skelton Grant)
Discoveries (2002) (edited by Judith Skelton Grant)
A Celtic Temperament: Robertson Davies as Diarist (2015) (edited by Jennifer Surridge and Ramsay Derry)

Collections
Conversations with Robertson Davies (1989) (Edited by J. Madison Davis)
The Quotable Robertson Davies: The Wit and Wisdom of the Master (2005) (collected by James Channing Shaw)
The Merry Heart: Reflections on Reading Writing, and the World of Books (New York: Viking, 1997).

 (Edited by J. Madison Davis) not Davies

References

Sources
Grant, Judith Skelton, Robertson Davies: Man of Myth, Viking, Toronto, 1994.  (hard cover);  (paperback)

External links

Robertson Davies' Personal Library (Queen's University at Kingston)
 Robertson Davies fonds (R4939) at Library and Archives Canada

1913 births
1995 deaths
Canadian Anglicans
Canadian literary critics
Canadian monarchists
Canadian newspaper editors
Canadian male journalists
Canadian male novelists
Canadian people of Scottish descent
Canadian people of Welsh descent
Companions of the Order of Canada
Converts to Anglicanism from Presbyterianism
Fellows of the Royal Society of Canada
Governor General's Award-winning fiction writers
Writers from Ontario
Magic realism writers
Members of the Order of Ontario
World Fantasy Award-winning writers
People from Chatham-Kent
Queen's University at Kingston alumni
Upper Canada College alumni
Alumni of Balliol College, Oxford
Academic staff of the University of Toronto
Fellows of the Royal Conservatory of Music
Stephen Leacock Award winners
20th-century Canadian novelists
20th-century Canadian dramatists and playwrights
Canadian male dramatists and playwrights
Fellows of the Royal Society of Literature
20th-century Canadian male writers
Massey College, Toronto

redpajama_set_name: RedPajamaWikipedia


text:
6 factual errors
Directed by: Simon West
Starring: Angelina Jolie, Chris Barrie, Daniel Craig, Iain Glen, Jon Voight, Noah Taylor
Tomb Raider game mistakes
Tomb Raider (2018) movie mistakes
All mistakes 30 continuity mistakes6 factual errors1 other mistake3 plot holes6 revealing mistakes1 visible crew/equipment mistake Order by popularity Order chronologically Significant dates Titles starting with T
Factual error: In the fight scene in Lara's garage, she rides her motorbike towards the guy attacking her, does a front wheelie and knocks him out with the rear wheel by braking and turning the bike on its front wheel. The back end of the bike then gently lowers itself to the ground, rather than dropping heavily under the force of gravity.
Factual error: Lara's father's tombstone reads 'Lord Richard Croft'. Surely even brainless Hollywood types know that it should read either 'Lord Croft' or 'Richard, Lord Croft'?
Factual error: When Lara is about to be air-dropped into Cambodia, she concludes her transmission to the plane crew by saying: "Over and out." Even a novice two-way radio user would know better. "Over" means "I stop talking and await your reply", while "out" means "I am finished..no reply needed.goodbye." They cannot be used together.
Alan Rice
Factual error: When Lara is on the back of the robot extracting wires, you can see her from it's eyes. That's impossible due to the shape of the head.
Dr Wilson
Factual error: Here's the basic plot: every 5000 years, the planets align (viewed from "above" and the side). The last time this happened, a meteor fell to the Earth. The metal from the meteorite was used to make a Mystical Device, which can Stop Time, Give Great Power, and Do Other Things that require capital letters for emphasis. Without drawing this into a boring scientific lecture, I'll provide one aspect that would destroy the plot significantly; Pluto's orbit is tilted by a whopping 17 degrees from the plane of Earth's orbit (technically called the ecliptic), which is huge compared to the size of the planet itself. Check out http://seds.lpl.arizona.edu/nineplanets/nineplanets/plutodyn.html
Factual error: When Lara looks through the telescope, it should be dark in the room.
More for Tomb Raider
Revealing mistake: When Lara gets out of the bath, you can see a strap on her shoulder which means that Lara wasn't naked when she got out of the bath.
More mistakes in Tomb Raider
Lara Croft: To see your world in a grain of sand, and a heaven in a wild flower. Hold infinity in the palm of your hand, An eternity in an hour. William Blake.
More quotes from Tomb Raider
Trivia: The part of Lara's father in the movie is played by Jon Voight, who actually is Angelina Jolie's estranged father in real life.
More trivia for Tomb Raider
Question: The Director states in the commentary that there are some clues to some kind of puzzle at certain scenes (such as When Lara is doing the bungee ballet and when Alex gets knifed). What are these clues that we're supposed to be looking for - something in the background? The action? Some kind of composition? And just what is the puzzle?
Answer: This movie left a lot of holes. It was pretty much: Lara knew what to do and she did it. Perhaps there are clues in the movie, but the book explains all the puzzles in much more detail (as books do). So if you are really interested in the deep puzzles of the adventure, the Tomb Raider book is what you should look at.
More questions & answers from Tomb Raider
Mistake & trivia booksMost popular pagesBest movie mistakesBest mistake picturesBest comedy movie quotesMovies with the most mistakesNew this monthFriends mistakesMax Payne trailerAce Ventura: When Nature Calls mistakesRob Lowe movies & TV showsAce Ventura: When Nature Calls quotes10 Things I Hate About You plotThe Addams Family endingA.I. Artificial Intelligence questionsAbout Last Night... triviaAlien mistake pictureMore for Tomb Raider
Near the end of the movie, Lara Croft and Manfred Powell (Iain Glen) both draw their pistols and have them pointed at each others head. Powell suggest that the two put the guns down and settle it hand to hand. The two lay their guns down and fight. As the fight is progressing the cave is falling in around them. Laura knocks Powell out and begins to run for the exit and she does not slow down. As she makes it to the exit you can see her pistols in their holsters on her legs. This is edited from a longer sequence, as seen on DVD, but still a mistake in the theatrical release.
Lara Croft: Ah, Mr Powell.How Predictable.Alex West.What are you doing here?
The battle training robot is named "Simon" in the film, presumably after the director Simon West.


text:
The Zcash Foundation Grant Program Returns With New Support
Hot off the heels of our Zcon0 and Community Governance Panel announcements, we are excited to announce the continuation of our Grant Program for the second quarter of 2018. The 2018Q2 Grant Program will function very similarly to our first grant program of the year, with a few tweaks:
We've clarified our policy on pseudonyms and reporting requirements
It's expected that any coding project releases their work as open source
Post-award grant, there will be an added requirement for monthly period updates to the Zcash Foundation General Mailing list
Above the $125,000 we initially had budgeted, our friends at the Blockchain Institute have graciously offered to match this amount; meaning we now have $250,000 of grant money to award this quarter…
On that last point, we'd like to highlight our friends at the Blockchain Institute, who are filling two of the Grant Review committee spots in addition to their donation to the Zcash Foundation. We are thrilled that they're joining us in supporting Zcash and the broader privacy ecosystem!
Those who remember the 2017Q4 Grant Program will find the approach familiar, as best described by the Grant Program's Scope:
We are interested in funding proposals that support both the Mission and Values of the Zcash Foundation. The scope of activities is broad, and can include: software development (e.g., wallet software, libraries, etc.), infrastructure development and maintenance (e.g., hosting forums and block explorer services, etc.), education and outreach, science and research, and many more. It is expected that projects will maintain an open process and—if applicable—will release code as open source.
The Zcash Foundation is a non-profit organization, and is therefore especially interested in funding proposals that are public goods and not obviously monetizable. We are not looking to fund startup companies that can seek crowdfunding or venture capital investing, or websites that sell advertising space.
In addition to the Blockchain Institute's generosity, the Foundation is particularly grateful to the 2018Q2 Grant Review committee—Eran Tromer, Gibson Ashpool, Dimitris Apostolou, Brandon Goodell, Alicia Naumof, and Alex Chepurnoy—for volunteering their time and considerable expertise to evaluate and guide prospective grant awardees.
A Brief Aside: What About the 2017Q4 Grants?
The 2017Q4 grant awardees have been busy executing on their projects—we didn't include a strict requirement for regular status updates in that program, but several awardees have been quite proactive on their public outreach (Guardaand Coincentrix are laudatory examples). Still others are polishing their work, and I expect that the community will be reviewing some exciting open source code soon once it's ready. 🙂 Beyond that, every grant awardee is required to submit their project reports six months after receiving their grants—you can expect to see those reports in June.
Back to 2018Q2
Interested in submitting a proposal? More details are on the process are available here:
https://github.com/ZcashFoundation/GrantProposals-2018Q2
Need ideas for potential grants? Check the globally edited Wiki:
https://github.com/ZcashFoundation/ZcashFoundation/wiki/Grant-Project-Ideas
The full submission and selection process should happen prior to Zcon0. (an event which you should also consider applying to attend if you're submitting a grant) The most important date to keep in mind: May 18th. An issue with your pre-proposal needs to be opened in the 2018Q2 Grant repository in order to be considered for funding.
We are excited to run another Grant Program, and are looking forward to the community's input and contributions!


A rare safe-passage deal was granted to Volkswagen's old chief executive officer by the United States not long after authorities there had filed sealed charges against him.
According to media reports, Herbert Diess was allowed to move about freely anywhere in the world without having to worry about being getting arrested in connection to the diesel-rigging investigation. The executive had bene recently promoted by the German automaker top lead the company.
Reports, quoting people with knowledge of the matter, stated that verbal assurance that he would be provided prior notice if the authorities decided to charge him in its emissions cheating probe. Diess is not accused of any wrongdoing even though he had joined the automaker a couple months before the scandal became public in September 2015.
This agreement with the U.S. authorities had enabled Diess to be able to efficiently manage the company which has 12 brands and 120 factories that are spread throughout the globe. He would be required to travel a lot around the world for purposes such as releasing new models representing the German automaker. The former CEO of VW, Martin Winterkorn, was indicted under seal in March. The criminal charges against Winterkorn were publicly announced on May 3 and he is likely to be arrested if he goes to the United States.
The deal was described to be unusual by former prosecutors and criminal defense lawyers. There could be a belief among U.S. authorities that Diess would be providing useful information for the diesel scandal investigations or they are not charging him at all, they said.
There were no comments to the news reports from either Volkswagen or the U.S. Department of Justice.
According to a 2016 company statement, emissions irregularities in the U.S. were explained to senior managers of VW which included Diess, who had been attending the routine "damage table" meeting on July 27, 2015, in Wolfsburg as a fresh recruit at the company.
According to investigators, the most important moment in the diesel scandal was perhaps that meeting where Winterkorn "approved the continued concealment of the cheating software from U.S. regulators." This has bene revealed in the unsealed indictment against the former CEO by the U.S. prosecutors.
It is assumed that Diess would potentially be aware of what was said by Winterkorn and others who had attended the meeting since he was present in the meeting. There is a n ongoing investigation against Diess in Germany, together with Winterkorn, seeking to find out if there was a market manipulation by them because they had not gone to the public with the information sooner than they did.


text:
Practices for Extra-Ordinatry Ministers at St Anne
"...through your goodness we have these gifts to offer
which earth has given and human hands have made..."
In the Eucharist, God starts with the human – the bread and wine on the altar, and the bread and wine of our human lives – and he brings out the the divine, in them. Bread and wine, the work of human hands, becomes the Body and Blood of Christ. But the change doesn't end there: by sharing in the Body and Blood of Christ, we become what we receive!
For ministers of Holy Communion, there is another dignity and responsibility: you must become what you give. You must become and live as the Body of Christ that you give to your brothers and sisters.
Before Mass:
• Check the Ministers Schedule.
• Establish whether you will be ministering the Body of Christ (bread) or the Blood of Christ (wine).
• If there are insufficient ministers, please take a moment to assist in securing additional ministers.
• Dress appropriately. (If asked to serve at the last minute, the topic of clothing should at least be
considered, but not necessarily a determining factor.)
• Please arrive 15 minutes before Mass, and check-in in the Sacristy.
• A guest concelebrating priest, or, an additional deacon automatically supercede one of the Lay Ministers.
This is not only Liturgical Guideline, but also how we demonstrate our welcome and hospitality.
• After signing in, gather with your famiy and the community in the assembly.
• If you are scheduled, but arrive late, please pause before entering the sanctuary for communion.
Another minister may have been asked to replace you before Mass began.
At the Sign of Peace:
• At the Sign of Peace, the ministers of communion make their way into the sanctuary.
This movement should be completed before the Lamb of God is begun.
While important to share in the greeting of peace, your primary ministry at that celebration
is to serve the whole community. As a result, greet your brothers and sisters, but do not
prolong the action unnecessarily.
• When you approach the altar, gather to the right and left sides of the altar. Guidelines for the
Diocese of Manchester request that we do not form a line behind the altar in the manner
that concelebrating priests would do at Mass.
• Once the priest and deacon have received, they will minister the Precious Body to
each extra-ordinary minister.
• Once everyone has received Eucharist in the form of Bread, the priest (or deacon) will offer a
Communion Chalice to each of the ministers with a purificator. Once you have received the
Precious Blood, consumed it yourself, then offer it to those extra-ordinary ministers who are
distributing the Precious Body. The priest (or deacon) will meanwhile begin to distribute the
ciborium to the other extra-ordinary ministers.
• Once everyone has their appropriate vessel for communion, the ministers, priest (and deacon) will
move to their places for distribution to the community. At any given Mass, the priest may
choose to take a different position than either side of the center isle. Should this occur,
and you are in that position, simply take what would have been his place at the center isle.
• As distribution of Eucharist ends, ministers with the Precious Body return their ciborium to the altar
where it is combined by the priest or deacon. Please do not approach the altar from the front.
Bring the ciborium to credence table side (left) of the altar. The deacon, and in his absence,
the priest will return the consolidated Eucharist to the tabernacle.
• As distribution of Eucharist ends, ministers with the Blood of Christ, return their chalices to the altar
in the same fashion. Each extra-ordinary minister may consume any additional Precious Blood,
or offer it to another extra-ordinary minster, the priest (or deacon) to assist.
The purificators are to be placed on the credence table.
• As each minister completes their responsibilities, form a line to the credence table side of the altar,
lower platform, and wait for the priest to return the ciborium to the tabernacle. Bow as the priest
genuflects. Once the tabernacle door is closed, return to your place in the community without
further ceremony.
• Lastly, thank you for your ministry to the Body of Christ gathered in the community of worshipers.
GLUTEN FREE HOSTS & THE "IMMOBILE"
• Gluten Free Hosts will be consecrated as needed for the community. A Minister of Communion will
be assigned to distribute the Glueten Free Hosts at each Mass at the designated location.
Those needing the Gluten Free host will come to that communion station to receive.
• Once those individuals who are in need of Gluten Free Hosts have been ministered to, return the pyx
to the altar and, taking the remaining ciborium and bring Eucharist to any of the sick or those
unable to approach Eucharist in the communion line.


I cannot believe how comfortable and stylish these shoes are! The Pewter colour is so pretty. Normally I wear a size 8 but came down a size and was amazed they actually fit. Looking forward to wearing them on my forthcoming holiday to San Francisco. Message to Moda in pelle.. You really have to open a concession with John Lewis.. now that would really be the icing on the cake!!


Does Having a Slope in Your Golf Rangefinder do any Good?
Laser or Non-Laser Rangefinder: Which one is Better?
Golf GPS vs Golf Laser Rangefinder : What Is The Difference?
Which Golf GPS Watch to Buy?
How A Golf Laser Rangefinder Can Help You While Playing ?
How to Test a Golf Laser Rangefinder?
How to Choose Golf Club for a Shot?
Most golfers do not have much knowledge about the right specs of a wedge. With the optimal specs and characteristics in your wedges, you will be able to boost your performance and keep your scores under control.
Wedge fitting is important because it turns the odds in your favor when you enter the 150 yard scoring zone in the golf green.
With a consistent hit into the hole in under three shots, it is incredible to see the scores drastically reduce.
When it comes to wedge selection, the length and flex of the shaft and lie angle are mostly considered, but not the sole width or bounce.
One of the many things that average players do not know is, 'what is golf wedge bounce'.
Due to differences in the way a club is hit among different players there is a need for different specifications for particular swings. Here is a detailed round up about bounce angle and its influence on wedge performance.
What is golf wedge bounce angle and why is it important?
Bounce angle denotes the lower extent of the sole's trailing edge when compared to leading edge of a wedge. Wedges are built to minimize resistance to sand when they hit a bunker shot.
For instance, use your pitching wedge to hit a shot from the bunker.
Without swing manipulation or opening of the club face, you will notice the club digs into sand and gets stuck. However this does not happen when you use the sand wedge.
The bounce helps to reduce resistance encountered by the club head while striking in the sand. The width of sole also minimizes resistance.
The sole width in a sand wedge is much wider than the soles in other wedges. Therefore the bounce is more magnified resulting in improved resistance with a shot driven through sand.
To decide on the right sole width and bounce, you need to first determine the attack angle of your swing. This is the angle that is formed between the club head and ball at address.
The angle is best decided by knowing about divot. If you use a divot with the short irons the attack angle will be steep.
This is called as digger. If you don't use a divot, the angle will be a shallow one and is referred to as Picker.
When you know about your divot, it is easy to decide on the bounce and sole width. Diggers for instance will find a wider sole and increased bounce more advantageous.
You will require low bounce in your wedge, if you make scull shots in the fairway. This is because the wedge's trailing edge will touch the ground and cause leading edge to hit the ball above or at equator of the ball.
Other instances where a low bounce is helpful include hard pan course or a dry and firm base. Shallow base and coarse sand bunkers also require narrow sole and minimal bounce.
The clubs that have low bounce include the pitching, gap and lob wedges. A bounce angle that is below 8 degrees comes under low bounce category. Such wedges are used for wet sand, hard turf and tight lies.
If your shots meet flat with the ball and the club is sticking in the turf you will need to use a wider sole and high bounce.
Bunkers with fluffy and fine texture need high bounce and wide sole.
Bounce angle of over 10 degrees are termed as high bounce angle. Sand wedges and certain other specialty form of gap wedges generally have a high bounce.
This makes them ideal for deep rough, shaggy fairway and light sand areas.
Due to the steep angle of the swing, the club will slide on the surface resulting in better opportunity for clean impact and more height of shot.
Sand wedges have the highest bounce angle ranging from 10 to 15 degrees. Gap wedges, especially the specialty ones have 12 degree or lower bounce angle.
When you know about what is golf wedge bounce, you can specify the appropriate bounce you need in your wedges.
While the regular golf club set is designed with a predetermined bounce angle for each club, you can get more leverage out of the bounce when you customize it.
In case you have very firm sand or making shots from tight lies, a low bounce is appropriate.
Players with too steep a swing also find the low bounce suitable. For flatter swings, soft sand bunkers and soft lies, the high bounce is ideal.
When you are ignorant about the nuances involved in bounce angle and the role it plays in improving your game, you are bound to choose the wrong bounce angle for your wedges.
Further the numerous choices manufacturers display now can overwhelm you beyond imagination.
The above details give a good idea about what is golf wedge bounce and how you can use it to lower you scores and play great shots.
At times factors such as the course condition or weather can influence the specifications that are routinely used.
By having wedges that sport varied bounce angles as well as sole widths you can increase the options you have and choose the best one for your game.
Purchasing wedges based on the indicators above will help you choose the right one no matter how overwhelming the choices before you may be.
An experienced product reviewer, he wanted to make a difference by presenting thorough reviews for the products which he uses in his day to day life.
Golf Laser Range Finder HQ Copyright © 2019.


TMX Group Inc. reported net income of $57.5 million for the third quarter, a rise of 11% from $51.9 million for the same period in 2017.
TMX reported earnings per share of $1.03, up 21% from $0.85 in the third quarter of 2017.
The rise in net income reflects higher revenue from TMX's global solutions, insights and analytics segment, the company said Thursday. That segment includes $27.9 million in revenue from Trayport Inc., a U.K.-based energy trading platform TMX acquired in December 2017.
Organic revenue growth was up 8% from the same period last year, the company said.
The increased revenue was partially offset by higher operating expenses, which rose 26% year over year owing to the addition of Trayport and higher costs from an employee performance incentive plan, the company said.
TMX Group's quarterly dividend will stay at $0.58 per common share.


text:
Microfabrication är processen att skapa miniatyrstrukturer i mikrometerskala (en miljondels meter) eller mindre. Ur historisk synvinkel utvecklades mikrofabrikationsprocesser för att skapa integrerade kretsar, även kallat "halvledartillverkning" eller "halvledarfabrikation". Under de senaste tre årtiondena har dessa processers användningsområde expanderat till att inkludera mikroelektromekaniska system (förkortat MEMS, amerikansk terminologi), mikrosystem (europeisk terminologi), mikromaskiner (japansk terminologi) och deras delfält: mikrofluidik/lab-on-a-chip, optiska MEMS (MOEMS), radiofrekvens-MEMS (RF MEMS), PowerMEMS, BioMEMS och deras utvidgning neråt nanoskalan (till exempel NEMS för nanoelectromechanical systems). Mikrofabrikationsprocesserna har återanvänts, men också anpassats och utvidgats. Vid tillverkning av plattskärmar och solceller används även liknande tekniker.

Miniatyrisering av diverse strukturer innebär utmaningar inom flera vetenskaps- och ingenjörsgrenar: fysik, kemi, materialvetenskap, datavetenskap, ultraprecisionsteknik, tillverkningsprocesser och design. Det ger också upphov till olika former av interdisciplinär forskning. De grundläggande koncepten och metoderna inom mikrofabrikation är mikrolitografi, dopning, tunnfilmsbeläggning, våtetsning, torretsning, bondning och polering.

Referenser

Nanoteknik
Mikroteknik


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text:
Corporate Finance & Accounting
Guide to Accounting
Corporate Finance & Accounting Mergers & Acquisitions
Flotation Cost
By Will Kenton
What Is a Flotation Cost?
Flotation costs are incurred by a publicly-traded company when it issues new securities and incurs expenses, such as underwriting fees, legal fees, and registration fees. Companies must consider the impact these fees will have on how much capital they can raise from a new issue. Flotation costs, expected return on equity, dividend payments, and the percentage of earnings the business expects to retain are all part of the equation to calculate a company's cost of new equity.
Understanding and Calculating Flotation Costs
The Formula for Float in New Equity Is
The equation for calculating the flotation cost of new equity using the dividend growth rate is:
Dividend growth rate=D1P∗(1−F)+g\text{Dividend growth rate} = \frac{D_1}{P * \left(1-F\right)} + gDividend growth rate=P∗(1−F)D1+g
D1 = the dividend in the next period
P = the issue price of one share of stock
F = ratio of flotation cost-to-stock issue price
g = the dividend growth rate
Flotation costs are costs a company incurs when it issues new stock.
Flotation costs make new equity cost more than existing equity.
Analysts argue that flotation costs are a one-time expense that should be adjusted out of future cash flows in order to not overstate the cost of capital forever.
What Do Flotation Costs Tell You?
Companies raise capital in two ways: debt via bonds and loans or equity. Some companies prefer issuing bonds or obtaining a loan, especially when interest rates are low and because the interest paid on many debts is tax-deductible, while equity returns are not. Other companies prefer equity because it does not need to be paid back; however, selling equity also entails giving up an ownership stake in the company.
There are flotation costs associated with issuing new equity, or newly issued common stock. These include costs such as investment banking and legal fees, accounting and audit fees, and fees paid to a stock exchange to list the company's shares. The difference between the cost of existing equity and the cost of new equity is the flotation cost.
The flotation cost is expressed as a percentage of the issue price and is incorporated into the price of new shares as a reduction. A company will often use a weighted cost of capital (WACC) calculation to determine what share of its funding should be raised from new equity and what portion from debt.
Example of a Flotation Cost Calculation
As an example, assume Company A needs capital and decides to raise $100 million in common stock at $10 per share to meet its capital requirements. Investment bankers receive 7% of the funds raised. Company A pays out $1 in dividends per share next year and is expected to increase dividends by 10% the following year.
Using these variables, the cost of new equity is calculated with the following equation:
($1 / ($10 * (1-7%)) + 10%
The answer is 20.7%. If the analyst assumes no flotation cost, the answer is the cost of existing equity. The cost of existing equity is calculated with the following formula:
The answer is 20.0%. The difference between the cost of new equity and the cost of existing equity is the flotation cost, which is (20.7-20.0%) = 0.7%. In other words, the flotation costs increased the cost of the new equity issuance by 0.7%.
Limitations of Using Flotation Costs
Some analysts argue that including flotation costs in the company's cost of equity implies that flotation costs are an ongoing expense, and forever overstates the firm's cost of capital. In reality, a firm pays the flotation costs one time upon issuing new equity. To offset this, some analysts adjust the company's cash flows for flotation costs.
Understanding Free Cash Flow to Equity
Free cash flow to equity (FCFE) is a measure of how much cash can be paid to the equity shareholders of a company after all expenses, reinvestment and debt are paid.
Earnings Per Share (EPS)
Earnings per share (EPS) is the portion of a company's profit allocated to each outstanding share of common stock. Earnings per share serve as an indicator of a company's profitability.
Market capitalization is the total dollar market value of all of a company's outstanding shares.
Dividend Discount Model – DDM
The dividend discount model (DDM) is a system for evaluating a stock by using predicted dividends and discounting them back to present value.
Cost of capital is the required return a company needs in order to make a capital budgeting project, such as building a new factory, worthwhile.
What Is a Treasury Offering?
A treasury offering is the issuance of an additional class of security already existing in a firm's treasury.
How to Calculate the Required Rate of Return (RRR)
Tools for Fundamental Analysis
How to Evaluate Firms Using Present Value of Free Cash Flows
Private Equity & Venture Cap
How to Value Private Companies
How Does a Share Premium Account Appear on the Balance Sheet?
A Breakdown on How the Stock Market Works
Which Transactions Affect Retained Earnings?


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Religion on the Radio
Using Christmas religious broadcasting to reframe the sacred-secular interface
Christopher Deacy University of Kent
https://doi.org/10.1558/imre.35647
Christmas, BBC radio, conventional religion, secular sacred, ordinary secular
This article examines the breadth and depth of religion in British radio by means of a case study of eight different BBC stations on December 25, 2015. It draws on previous research by Knott and Gill where pre-established definitions of religion, in which the category of "Conventional Religion" is prioritized, have tended to obscure and underestimate the location and place of religion in British media and makes the case for utilizing a tighter rationale and methodology to better examine the relationship between religion and so-called "secular" media. Using a comparative content analysis across twenty-two individual programmes and fouty-four and a half hours of broadcasting, this article proposes that, with a more nuanced methodology, alternative and more challenging ways in which to seek, find and interact with religion on the radio can be identified, with key implications for both the category of religion and the BBC's own definition of the remit of "religious broadcasting."
Christopher Deacy, University of Kent
Christopher Deacy is Reader in Theology and Religious Studies and Senior Tutor for the School of European Culture and Languages at the University of Kent, and has published several monographs in the area of religion/theology and film. His most recent book focused on Christmas and religion, with a chapter on Christmas as a site of Implicit Religion (OUP, 2016).
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———. 2016b. "Christmas on the Radio." Oxford University Press Blog. 23 December. https://blog.oup.com/2016/12/christmas-radio-bbc/
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Deacy, C. (2019). Religion on the Radio: Using Christmas religious broadcasting to reframe the sacred-secular interface. Implicit Religion, 21(1), 1–43. https://doi.org/10.1558/imre.35647
On the Hill: AHA Attends Ministerial to Advance Religious Freedom
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