text:
/****************************************************************************************/
/*                                                                                */
/*                                       Pegasus                                        */
/*                                                                                */
/****************************************************************************************/

//! \file   BlockScriptCompiler.h
//! \author Kleber Garcia
//! \date   November 28th, 2014
//! \brief  Base class defining the basic compiler operations

#ifndef PEGASUS_BLOCKSCRIPT_COMPILER_H
#define PEGASUS_BLOCKSCRIPT_COMPILER_H

#include "Pegasus/BlockScript/BlockScriptBuilder.h"
#include "Pegasus/BlockScript/IddStrPool.h"
#include "Pegasus/BlockScript/BlockScriptCanon.h"
#include "Pegasus/BlockScript/FunCallback.h"
#include "Pegasus/BlockScript/Container.h"
#include "Pegasus/BlockScript/Preprocessor.h"
#include "Pegasus/Memory/BlockAllocator.h"

//forward declarations begin
namespace Pegasus {
    namespace Alloc
    {
        class IAllocator;
    }

    namespace Io
    {
        class FileBuffer;
    }

    namespace BlockScript
    {

        class BlockLib;
		class IddStrPool;
        class IBlockScriptCompilerListener;
        class IFileIncluder;

        namespace Ast
        {
            class Program;
        }
    }
}
//forward declarations end

namespace Pegasus
{

namespace BlockScript
{

// compiler definition
class BlockScriptCompiler
{

public:
    //! BlockScriptCompiler constructor
    //! \param allocator the master allocator
    BlockScriptCompiler(Alloc::IAllocator* allocator);

    //! Destructor
    virtual ~BlockScriptCompiler();

    //! Compiles a file string buffer into block script
    //! \param fb the file buffer containing the script
    //! \return true if successful, false otherwise
    virtual bool Compile(const Io::FileBuffer* fb);

    //! Resets all memory. Call this if Compile is going to be called again
    void Reset();

    //! Adds a set of definitions to keep around. These defs act as #defines within blockscript.
    //! The strings in question will get copied.
    void RegisterDefinitions(const char* definitionNames[], const char* definitionValues[], int definitionCounts);

    //! Sets the title of this file. The string must be kept alive externally throughout compilation time.
    void SetTitle(const char* title) { mTitle = title; }

    //! Gets the title of this file
    const char* GetTitle() const { return mTitle; }

    //! Gets the abstract syntax tree constructed from Compile
    //! \return the abstract syntax tree
    Ast::Program* GetAst() { return mAst; }

    //! Gets the virtual machine assembly produced from the block script source
    //! \param the virtual machine state
    //! \return list of blocks
    Assembly GetAsm() { return mAsm; }

    //! Adds a compiler event listener, to be used to listen to internal blockscript compiler events
    //! \param eventListener the listener to push
    void AddCompilerEventListener(IBlockScriptCompilerListener* eventListener);

    //! Gets a function bind point to be used to call.
    //! \param funName - the string name of the function
    //! \param argTypes - the argument definitions of the function
    //! \param argumentListCount - the count of the arguments of this function
    //! \return FUN_INVALID_BIND_POINT if the function does not exist, otherwise a valid bind point.
    FunBindPoint GetFunctionBindPoint(
        const char* funName,
        const char*const* argTypes,
        int argumentListCount
    ) const;

    //! Gets the bind point of a global. Globals must be marked as "extern" in code in order to be exposed to the API
    //! \param globalName. the name of the global to find.
    GlobalBindPoint GetGlobalBindPoint(const char* globalName) const;

    //! Get the type description of a global variable marked as extend
    //! \param the bind point of the global
    //! \return the type description
    const TypeDesc* GetTypeDesc(GlobalBindPoint bindPoint) const;

    //! Sets a file includer interface for compilation.
    //! \param includer - the includer used for #include directives
    void SetFileIncluder(IFileIncluder* includer) { mFileIncluder = includer; }

    //! Gets the file includer set.
    //! \return the includer to get.
    IFileIncluder* GetFileIncluder() const { return mFileIncluder; }

protected:
    BlockScriptBuilder       mBuilder;

private:
    Alloc::IAllocator*       mAllocator;
    Memory::BlockAllocator   mStrAllocator;
    Ast::Program*            mAst;
    Assembly                 mAsm;
    IFileIncluder*           mFileIncluder;
    Container<Preprocessor::Definition>   mDefinitionList;
    const char* mTitle;
};

}

}

#endif


text:
2023 CES
EditShare Expands Americas Territory Sales Team
By nick@zazilmediagroup.com
Boston, MA - May 22, 2018 -EditShare, a technology leader in intelligent scale-out storage, automated QC and media management solutions, welcomes new team members Jason Quast to the territory sales director position for Southeast U.S. and Dave Spraker for the territory sales director role for Northwest U.S. and British Columbia, Canada. They join Jeff Barnes and Grant Carroll, who have moved into new territory sales director positions for the Southwest, U.S., and Northeast, U.S. respectively, further strengthening EditShare's geographic coverage for sales and support across North America.
"While today's IT-based media workflows provide immense efficiencies for production and post-production, as well as flexibility in terms of collaboration and remote access, they also pose challenges for the broadcast, video and film community across important areas such as security and compliance," says Andy Liebman, CEO, EditShare. "You need expert advice on building a workflow that lets you maximize remote talent and production efficiencies while also giving you protection against cyber theft and helping you avoid delivering shows that require costly technical revisions later. Jeff, Grant, Dave and Jason have years of experience and can provide the sound guidance facilities need when making an investment in their business whether it is migrating to UHD storage, setting up a secure remote workflow, leveraging the cloud cost-effectively or coming in line with new IMF delivery requirements." All EditShare sales appointments are effective immediately.
Jeff Barnes - Sales Director, Southwestern U.S. Territory
Based out of Glendale, CA and a member of the EditShare family since 2010, Jeff has more than 20 years of experience in broadcast and multimedia sales, integration and management in the areas of film, broadcast, higher education and all facets of post-production. His experience with file-based workflows combined and pipeline management bridges traditional broadcast solutions with emerging TV and Film technologies. Jeff can be reached at: jbarnes@editshare.com.
Grant Carroll - Sales Director, Northeast U.S. Territory
With more than two decades of creative and technical experience, Grant combines the unique blend of "on-the-job" industry perspective from his days as a commercial editor with in-depth shared storage, AQC, pipeline and media asset management workflow knowledge through his 15 plus years working with EditShare. Grant can be reached at: grant@editshare.com.
Jason Quast - Sales Director, Southeast U.S. Territory
With over 20 years working in the media and entertainment industry, Jason joins EditShare from HB Communications where he supplied workflow solutions to clients in the post-production and creative markets sector. Jason's vast experience in the post-production sector will help drive further EditShare growth in the region. Jason can be reached at: jason.quast@editshare.com.
Dave Spraker - Sales Director, Northwest U.S. and British Columbia, Canada Territories
Before joining EditShare, Dave Spraker ran his own system integration consulting company. He also managed the day-to-day operations of a 20-seat UHD NLE connected to EditShare shared storage set up for one of Portland's largest advertising agencies. Through his hands-on experience, Dave brings a wealth of knowledge in the design, implementation and management of post-production workflows to EditShare. Dave can be reached at: davespraker@editshare.com.
About EditShare
EditShare is a technology leader in networked shared storage and tapeless, end-to-end workflow solutions for the post-production, TV and film industries. Our groundbreaking products improve efficiency and workflow collaboration every step of the way. They include video capture and playout servers, high-performance EFS central shared storage, AQC, archiving and backup software, media asset management, and Lightworks – the world's first three-platform (Windows/OS X/Linux) professional non-linear video editing application.
©2018 EditShare LLC. All rights reserved. EditShare® is a registered trademark of EditShare.
Nick Govoni
Zazil Media Group
(e) nick@zazilmediagroup.com
(p) +1 (978) 866-7354
nick@zazilmediagroup.com
EVS' CTO Discusses IP, UHD, The Edge and More
Riedel Promotes Rick Seegull to SVP Technology & Business Development, the Americas
LiveU, L.M. Ericsson, Nokia Demo Dynamic 5G Network Slicing
Charter Reports Loss of 145K Cable TV Subscribers
Sinclair Accepting Applications for 2023 Diversity Scholarship Program

redpajama_set_name: RedPajamaCommonCrawl


Click the link above for the division needed to enter the score.
Click "Scorekeeper Login" link in the upper right had corner.
Enter the Password emailed to the teams.
Games will appear after the start time in the system.
Home teams will need to enter the final score and then click Save Score.
Click Done once score has been entered and saved.
Click the link above for the division you would like to see the standings.
If your team did not receive a Password, or you have forgotten it, please email League Commissioner to retrieve it.
If you have any other questions, please email or call League Commissioner for help.


text:
Die Shure Montreux Jazz Competition war ein Nachwuchs-Musikwettbewerb, der zwischen 2003 und 2017 im Rahmen des Montreux Jazz Festival stattfand.

Geschichte
Seit seinen Beginnen hat das Montreux Jazz Festival Nachwuchsmusiker eingeladen. Nach dem Fall des Eisernen Vorhangs gründete Claude Nobs zunächst einen Solo-Klavier-Wettbewerb, dann auch Wettbewerbe für Jazzsänger und Gitarristen im Bestreben, herausragende Interpreten zu finden; ein Ziel war dabei, verstärkt Musiker aus Osteuropa nach Montreux zu bringen.

Zwischen 2003 und 2017 wurde die Shure Montreux Jazz Competition (wie sie beständig hieß) jedes Jahr im Juni veranstaltet. Der Wettbewerb richtete sich an den Nachwuchs im Jazzgesang, die Teilnehmenden mussten weniger als 35 Jahre alt sein. Die ersten drei Preisträger erhielten einen Geldpreis, zusätzlich erhielt der erste Preisträger die Möglichkeit zu einer Studioaufnahme.

Liste der Preisträger

Weblinks
 Shure at Montreux

Einzelnachweise

Musikwettbewerb
Montreux Jazz Festival
Erstveranstaltung 2003
Musikveranstaltung in Montreux

redpajama_set_name: RedPajamaWikipedia


text:
Ian McEwan writes about his television playsIan McEwan
Vol. 3 No. 2 · 5 February 1981
Ian McEwan writes about his television plays
I first wrote a television play in 1974 because I wanted to break the isolation of writing fiction. I had no other job and I was far less reconciled than I am now to the essentially crackpot activity of sitting down alone several hours a day with an assortment of ghosts. I envied people who, even while they often complained about each other, collaborated, sped in taxis to urgent conferences; they appeared (I begin to doubt this now) saner and happier for having to do with each other. I thought of writing for television rather than for the stage because, like most people, I had spent far more hours in front of television sets than in theatres; I felt familiar with television's 'grammar', with its conventions and how they might be broken. As a short-story writer I was attracted by its scale, its intimacy. The possibilities and limitations presented by the 30, 50 or even 75-minute television play seemed very close in some ways to those presented by the short story: the need for highly selective detail and for the rapid establishment of people and situations, the possibility of chasing one or two ideas to logical, or even illogical, conclusions, the dangers of becoming merely anecdotal.
Finally, television was, and is, dominated by the powerful, cohesive conventions of its naturalism. The programme-maker who departs radically from these conventions can be sure of at least irritating or surprising the audience – there is a baseline of expectation. Literary fiction, on the other hand, as the older form, is not similarly dominated: there are authors writing comfortably inside the narrative conventions of the 19th century and publishing alongside writers of 'postmodernist' pastiches of 18th-century novels. Naturalism is the common language of television – not the language we speak, but one we are accustomed to listen to. Simply by association it has become the language of the state, of an illusory consensus, and prone to all its contradictions. The centrality of television naturalism suggested, or so I thought, that formal experiment could therefore really matter, that by calling into question the rules of the common language the viewer could be disoriented and tempted to regard the world afresh. These, of course, were grand expectations. The non-stop omnivorousness of television, aided by the tone of vacuous after-dinner chat of much television reviewing, tends to make such pronouncements of intent sound a little reedy.
Of the three plays now published, the first two were attempts, however weak, to kick over the traces. The third, The Imitation Game, is not formally experimental at all. I had begun to think there might be more effective, if well-tried, means of trying to regard the world afresh.
Jack Flea's Birthday Celebration was written in 1974, shortly after I had finished writing the last of the stories that were to make up my first collection, First Love, Last Rites, and I think of this play as really belonging in that volume. It was commissioned originally by Barry Hanson, who was producing from Birmingham half-hour plays by new writers – hence the series title, 'Second City Firsts'. A standard procedure in the commissioning of a play, especially one by an unknown author, is for a synopsis to be written and then, once the producer is satisfied that the writer's 'idea' is sound and feasible, for a contract to be offered. It seemed to me a deadening process. I duly presented my 'idea', discussed it at length with the producer, signed a contract and wrote a play whose every line was stillborn. Rewrites failed to rescue it. I explained to Barry Hanson that I could not know what I was writing about until I had written it. He promptly sent a second contract for a play entitled Blind Date, and, encouraged by his willingness to take a chance on me, I set to work. When Hanson left Birmingham, Tara Prem inherited the project. She and Pedr James, the script editor, made numerous suggestions for improvement and the play's final shape owes a lot to them.
My intention was to take a television cliché – a kind of family reunion, a dinner party – and to transform it by degrees and by logical extension to a point where fantasy had become reality. The self-reflecting fiction at the centre of the play is perhaps one of those conceits that many writers new to a form are tempted to exploit. As it turned out, it was not, as I had feared, too literary or undramatic. It simply became a feature of the central character's illusory sense of control.
The play was helped enormously by the fact that the actors thought it very funny. Producing the play in Birmingham had one distinct advantage: at the end of a day's rehearsal the four actors – who all came from far away – could not go home. They had to hang about together in restaurants or in the hotel bar. No one could quite escape his or her part. By the end of ten days a very odd and gratifying level of controlled hysteria had been reached and this suited the claustrophobic nature of the play perfectly, as did the detached quality of Mike Newell's camera script.
I adapted Solid Geometry in 1978 from the short story I had written in 1973. The story had very distinct origins. A mathematician friend from Chile had recently told me of a 'proof' for a plane without a surface and had outlined for me the consequences of such a proof being valid. Independently of this, I had been reading Bertrand Russell's diaries and I wanted to write a story which would somehow illustrate the way diary writing, in its selectivity, closely resembles fiction writing. Thirdly, I wanted to write about the collision of two intellectual worlds. In 1972 I bought a bus in Amsterdam with two friends and travelled the hippy trail to Afghanistan and into the North-West Frontier Province. During the preceding year in England and all along the route to Kabul I met people who spoke of the world in specifically anti-rationalist terms. The talk was of Alan Watts, Timothy Leary, Ken Kesey, Ouspensky, of bits and pieces of Jung, of the I Ching and the Tarot cards and of how psychotropic drugs, which we consumed in large quantities, might transform the mechanistic, aggressive world we had left behind into the peaceable kingdom. At the time it was a great liberation from a formal education that had seemed to have gone on too long – I had finished a Master's degree the year before. When I returned to England, determined to carry on writing (I had published two stories by then), I found the cautious, analytical voices of a literary education vying with the intuitive and carefree. Albert and Maisie became the exaggerated representatives of each – the highly rational and destructive against the loving but self-deluded. The intended irony was that Albert uses the very system ('the mathematics of the Absolute') to dispose of her which Maisie endorses and which he has repudiated.
Solid Geometry is hardly a profound story. It is a little too neat, and at best simply clever. It gave me great satisfaction at the time because it seemed to tie up odds and ends that at one point seemed to belong to two or three stories. Its three-layered time-scheme suggested that it might adapt well to television and I first suggested it to the BBC in 1975, but without success. Then, early in 1978, Stephen Gilbert commissioned it for a series called 'The Other Side', also being made from Pebble Mill, Birmingham.
The immediate problem was to dramatise the relationship between Great-grandfather and Maxwell, which is merely reported in the story. It was also important to prevent Albert from becoming too sympathetic. It could easily happen, because he is the one with the diaries, and through whom we have access to Great-grandfather, Maxwell and Vienna. Correspondingly, it was necessary to make Maisie as sympathetic as possible in her attempts to rescue the marriage: that way, Albert's disposing of her would appear all the more callous. When the play went into production I discovered that dazzling electronic techniques were on hand, not only for the paper flowers and Maisie's final disappearance, but also in moving us from one time-level to another through the medium of a glowing page of the diary. The scenes of the mathematicians' conference in Vienna were to be shot through glass, a film technique adapted for tape.
After a week's rehearsal in March 1979 I began to think that this was, potentially at least, a far better play than a short story. It had a resonance and life that had not been present previously. The relationships between Maisie and Albert, on the one hand, and Great-grandfather and Maxwell, on the other, seemed to parallel and reflect each other. What was merely anecdotal in the story now seemed a strong narrative line. The mere cleverness of the story was easily displaced by the rapport between the two sets of actors, particularly between Mary Maddox and Clive Merrison.
On 20 March, four days before we were due to record the play in the studio, the BBC management called a halt to production: exactly why, and why we could not have been consulted first, I am unlikely now ever to discover. Mr Philip Sidey, Head of Network Centre, the administrative head of BBC Birmingham, objected strongly to the play, and Mr Shaun Sutton, Head of Drama Group, Television, effected the ban. At a meeting with the latter, I was told the play was 'untransmittable' and that this was not a time for adventurous projects. Specific objections to the play were not mentioned then or at any other time during the minor storm that followed. While we were meeting, the BBC put out a press notice that announced the ban and referred to 'grotesque and bizarre sexual elements in the play'. The decision was presented as irrevocable. There could be no negotiation or compromise.
Naturally we would have resented compromise, but we were too deeply committed to the project not to explore every conceivable way of keeping it alive. For example, if the ban originated from a simple visceral response to a preserved penis in a jar, then we should have talked because there may have been room for manoeuvre. Who knows, if the contents of the preserving-jar had been shrouded in murky liquid, its contents only to be glimpsed and guessed at, if it had been seen, once Maisie had broken the jar open, as undifferentiated grey tissue on Albert's desk, then it could have been effective enough for being inexplicit. It would have been immensely irritating to deal at such a trivial level, but worth it.
Again, if the objection was to the love/disappearance act at the end, then we certainly should have talked. Mary Maddox was to have played the scene naked, it is true, but nakedness is not new to television, and Mike Newell had yet to write his camera script. The camera has to be told how and what to look at. From the point of view of dramatic effectiveness, discretion here was our best option: to have allowed the camera to become a voyeur, to have introduced at the climax of the play the self-consciousness of pornography, would have been completely diversionary.
But the BBC executives saw only a 'dirty' play, and their mood was more retributive and paranoid than constructive. Stephen Gilbert, the producer, was sacked after publicly criticising the ban. He was reinstated after a union-backed appeal but with severely reduced reponsibilities. Gillian Reynolds, a Kaleidoscope presenter, lost her job for writing about the ban in Broadcast magazine. Through a series of bungled or deliberately mismanaged statements from the BBC press office, Solid Geometry became, for ten days or so, widely celebrated in the press as a play with bizarre sex scenes. Stephen Gilbert ascended to headlines as TV SEX BOSS (ON CARPET). I sped in taxis to urgent conferences. Then the whole thing was forgotten.
I wrote The Imitation Game less from a need to collaborate than from a sense of dissatisfaction with my fiction. My novel The Cement Garden was in certain respects a synthesis of some of the concerns of my short stories, and after I had finished it, in August 1977, I felt I had written myself into too tight a corner; I had made deliberate use of material too restricted to allow me to write about the ideas that had interested me for some years. The Women's Movement had presented ways of looking at the world, both its present and its past, that were at once profoundly dislocating and infinite in possibility. I wanted to write a novel which would assume as its background a society not primarily as a set of economic classes but as a patriarchy. The English class system, its pervasiveness, its endless subtleties, had once been a rich source for the English novel. The system whose laws, customs, religion and culture consistently sanction the economic ascendancy of one sex over another could be a still richer source: men and women have to do with each other in ways that economic classes do not. Patriarchy corrupts our most intimate relationships with comic and tragic consequences, and as a system it can be described in microcosm through its smallest and most potent unit, the family. The Cement Garden embodied something of this, and so did some of my short stories, particularly as parodies of male attitudes in 'Home-Made' and 'Dead as they come'. But my narrators were frequently too idiosyncratic or solipsistic to allow me the freedom to explore.
After eight months of writing notes and instructions to myself, and of false starts, I had found no way into the kind of novel I wanted to write. I worked on a short story about a man who lives in the American Mid-West (where I had been living) and who divides his time between looking after his daughter and polishing his performance of Mozart's Fantasia for piano, K 475, a piece of music that obsessed me. Then Richard Eyre, who had just moved from the Nottingham Playhouse to the BBC, asked me to write a television play and I abandoned the story. I thought that by distracting myself, by doing something completely different, I could come back refreshed to my non-existent novel.
Initially I wanted to write a play about Alan Turing, the brilliant young mathematician who was brought to Bletchley Park from Cambridge during the war to work on Ultra, the decipherment of the German Enigma codes. He was one of the founding fathers of modern computers. He was a homosexual and suffered for it at the hands of the law. He died in 1953 in circumstances so far not completely explained.
I first heard of Turing in 1975 when I was writing a magazine piece on machine intelligence. Dr Christopher Evans of the National Physical Laboratories gave me an article by Turing, published in 1950 in Mind, entitled 'Computing Machinery and Intelligence'. In it he proposed the 'imitation game' as an operational procedure for approaching the question: 'Can machines think?' I heard more about the importance of Bletchley from Donald Michie, Professor of Robotology at Edinburgh University. Three years later I read Angus Calder's The People's War, a social history of World War Two, and resolved to write something one day about the war. I come from an Army background, and although I was born three years after the war ended, it was a living presence throughout my childhood. Sometimes I found it hard to believe I had not been alive in the summer of 1940.
But it was not at all easy to research either Bletchley or Turing's time there. A few books had been published, but there was a great deal of material that at that time (spring 1978) had not yet been released. I spoke to the historian Peter Calvocoressi who had been head of Air Ministry Intelligence and was well placed to write the history of the Ultra secret. He was frustrated by the lack of primary sources and said that if the papers were not released soon he would be too old to sift through them all and write his book. I spoke to Andrew Hodges who was writing Turing's biography. Reasonably enough, he was reluctant to tell me facts that he had uncovered through painstaking research, but he told me enough about Turing's life and death to show me how little I knew. I had been researching for three months, and I knew that Turing would have to be invented.
And by this time certain other facts about Bletchley Park were interesting me more. By the end of the war ten thousand people were working in and around Bletchley. The great majority of them were women doing vital but repetitive jobs working the 'bombes' – electro-mechanical computing machines (Turing was a major force in their development) which were fed 'menus' and ran through thousands of combinations of letters until a code was broken. The 'need to know' rule meant that the women knew as much as was necessary to do their jobs, which was very little. As far as I could discover, there were virtually no women in at the centre of the Ultra secret. There was a widely held view at the beginning of the war that women could not keep secrets.
Secrecy and power go hand in hand. Traditionally, women had been specifically excluded, by clearly stated rules written by men, from government, higher education, the professions, trade guilds, the priesthood and from inherited property: in effect, until recent times, from citizenship. And yet women seemed somehow essential to the conduct of war. Their moral and emotional commitment was vital, for they were the living embodiment of what the men fought to protect from the Enemy.
Their position was made more complex in modern warfare when sheer shortage of manpower impelled governments to bring women into the services. They were asked in not as fighter pilots or to mastermind intelligence operations, but as the housekeepers of war – cooks, chauffeurs, secretaries. In the Imperial War Museum library I came across the text of a wartime wireless broadcast: 'Henceforward, as our colossal war machinery gets under way, no skilled person is to do what can be done by an unskilled person, and no man is to do what can be done by a woman.'
When I began to speak to ex-ATS and WRNS the picture became even more complicated. Nearly all of them were now married women whose children had grown up and married. They had done the repetitive tasks connected with Ultra and then, bound by the Official Secrets Act for over thirty years, had spoken to no one about their work, not even their husbands. They spoke of the great camaraderie among the women which they felt – and this was said without bitterness – was incompatible with married life. Despite the hardships of military life, the crowded living quarters, low wages, lack of privacy, exhausting work, occasional bullying, the one word which recurred in their reminiscences was 'independence'. Without the war they would normally have expected to move straight from their father's house to their husband's. Despite the kinds of jobs assigned to them (I spoke to drivers and cooks as well as special operators), the war presented a unique and guiltless freedom from the strictures of family life, and from economic dependence on a particular man.
By this time I had come to think of Ultra as a microcosm, not only of the war but of a whole society. Peter Calvocoressi graphically described Ultra's organisation on the 'need to know' basis as a set of concentric rings. The closer you moved to the centre, the more men you found; the further you moved to the periphery, the more women. By having a woman at the centre of the film (I no longer thought of it as a play), I could disguise my own ignorance about Ultra as hers. The idea was to have her move from the outermost ring to the very centre, where she would be destroyed. At the centre would be a sexual relationship; its misunderstandings would be a consequence of the absurdity of the structure. Turing by this time had disappeared and his place taken by Turner, who anachronistically expounds the imitation game. Music – in its written form a kind of code – became important to the film, and the heroine inherited the Mozart Fantasia.
This was the novel I had wanted to write, and after I had finished the script there were times when I regretted intensely that it was a television film. These regrets disappeared as soon as I began to work with the director, Richard Eyre. I do not think a writer could have hoped for more sensitive, imaginative direction. It was, in effect, his first film too, and this gave our collaboration during the year before going into production, and through rehearsals, shooting and editing, an open, exploratory quality that was thoroughly exhilarating.
Ian McEwan's new novel, Sweet Tooth, will be published this August.


text: Q: variance of sum of non-independent indicator variables $n$ red balls and $n$ black balls are mixed uniformly in a row. Let $Y_n$ be the number of times there are two balls of different color right next to each other (so for example in the sequence Red-Black-Red there are 2, and in RRB there is only 1). Compute Expectation and Variance of $Y_n$. What I've done is denote $X_1,\ldots,X_{2n-1}$ as indicator variables that the $i$-th ball is of different color from the $i+1$ ball. Then $E[X_i]= 2\cdot \frac{n}{2n}\cdot \frac{n}{2n-1}= \frac{n}{2n-1}$, and since $Y_n=\sum\limits_{i=1}^{2n-1}X_i$ we get that $E[Y]=n$. This results also "makes sense". I've tried $Var[Y_n] = \sum\limits_{i=1}^{2n-1}\text{Var}[X_i] + 2\cdot\sum\limits_{1\leq i<j\leq 2n-1} \text{Cov}(X_i,X_j)$. This gets complicated because $\text{Cov}(Y_i,Y_{i+1}) \neq \text{Cov}(Y_i,Y_{i+j})$ for $j > 1$. This question was asked in an exam, by a professor who really likes "tricks" and symmetry and such. I highly doubt he expected us to dig into all those details. Is there a simpler way to solve this?

redpajama_set_name: RedPajamaStackExchange


The Brandeis University men's tennis team, ranked #9 in Division 3, defeated MIT, 5-4 today. With the win the Judges improve to 14-3, while the Beavers fall to 6-5.
In doubles play, the Judges took a 2-1 as there one loss came at No. 1 as duo of junior David Aizenberg (Highland Park, Ill./Highland Park) and sophomore Anupreeth Coramutla (Monroe Township, N.J./Phillips Andover) fell 8-5. Duo of rookie Colt Tegtmeier (Madison, Wisc. / James Madison Memorial) and senior Tyler Ng (Great Neck, N.Y. / Great Neck South) got things going with a 8-3 victory at No. 3, while duo of rookie Jeffrey Chen (Northfield, Ill. / New Trier) and rookie Adam Tzeng (Eagle, Idaho/Eagle) followed suit, claiming a 8-7 victory at No. 2.
In singles play it was a back and forth affair as MIT evened the score with a win at No. 2 as sophomore Coramutla fell 6-2, 6-3. The Judges pulled ahead at No. 6 as sophomore Rajan Vohra (Glen Head, N.Y. / North Shore) claimed a 6-2, 6-0 win, but MIT would respond as sophomore Nikhil Das (Smithfield, R.I. / Moses Brown School) fell 6-3, 6-2 at No. 5. Once again the Judges would pull ahead as rookie Tzeng earned a 6-3, 6-2 win at No. 3, but once again MIT would respond as junior Aizenberg was defeated in three sets, 6-1, 1-6, 3-6 at No. 1. It came down to the final match at No. 4 as it was rookie Chen who clinched the victory for the Judges with a three set victory, 6-3, 6-7, 6-2.
The Judges will be back in action on Friday to kick off the UAA Tournament in Altamonte Springs, Florida.


text:
Il suo scritto più importante è il Carmen ad Rodbertum regem (Carme per il re Roberto, redatto tra il 1027 e il 1031), un poemetto in latino in forma dialogica, indirizzato al re dei Franchi Roberto II il Pio, all'interno del quale si attacca .

Adalberone ebbe inoltre una notevole influenza nelle lotte riguardanti il passaggio dinastico dalla casata dei Carolingi a quella dei Capetingi.

Biografia

Dalla formazione alla nomina a vescovo di Laon

Adalberone nacque in Lorena tra il 950 e il 957 dalla grande e nobile casata delle Ardenne, figlio del conte Regnier discendente di Widricus\Wigerich e della consorte di stirpe carolingia nonché nipote del vescovo di Reims, anch'egli di nome Adalberone. Si hanno notizie incerte circa gli anni della sua formazione, ma è possibile dedurre che abbia percorso il medesimo cursus honorum dei parenti per tanto dapprima si sarebbe formato a Metz o a Liège, avrebbe poi continuato i suoi studi presso Gorze, per terminarli presso Reims fino al 974 circa.

A Reims Adalberone ebbe sicuramente modo di conoscere Gerberto di Aurillac, con il quale intrecciò un rapporto di amicizia. Concluso il proprio percorso di studi, Adalberone entrò nelle grazie di re Lotario IV, divenendone cancelliere nel 974, e fu investito in giovane età come vescovo di Laon, il 16 gennaio 977, con molta probabilità grazie alla spinta dello zio, vescovo di Reims.

Adalberone di Laon operò politicamente e a livello diplomatico in un'epoca di transizione dinastica, . Durante la sua breve carriera da cancelliere si guadagnò la fiducia di re Lotario, l'affetto della di lui consorte Emma d'Italia, e l'inimicizia implacabile di Carlo di Bassa Lorena, fratello di Lotario. Nell'ambito di questa rete di relazioni si svilupperà gran parte dell'operato politico di Adalberone.

L'accusa di adulterio
Adalberone venne accusato da Carlo di Bassa Lorena di essersi macchiato di adulterio con la regina Emma d'Italia, moglie di Lotario IV. Si dovette così ricorrere a un concilio, tenutosi presso Saint-Macre, che di fatto sarebbe stato architettato al solo scopo di riabilitare la reputazione di Adalberone. Certamente le circostanze volgevano a favore dell'imputato, in quanto era suo zio in persona a presiedere la giuria. , ma visto che Adalberone continuò ad esercitare la carica di vescovo fino alla morte, si hanno buone ragioni per supporre che l'accusa fosse totalmente infondata e che quindi egli sia stato assolto.

In quell'epoca la situazione politica era in continua evoluzione: i già fragili equilibri della situazione politica in Francia vacillarono quando re Lotario IV morì, nel 986, e gli succedette il figlio Luigi, nato dalla consorte Emma d'Italia. Il giovane sovrano fu incoronato nel giugno del 979, ma assunse il potere effettivo nel 987, all'età di venti anni, un anno dopo la morte del padre. L'inesperienza del monarca, data dalla sua giovane età, . Egli fu una debole pedina tra le lotte di due dinastie: quella dei Robertingi e quella degli Ottoni, imperatori del Sacro Romano Impero e difensori di Roma. L'equilibrio politico si sgretolò del tutto quando il sovrano morì prematuramente il 21 maggio 987.

Le lotte dinastiche tra Carolingi e Capetingi
Luigi V morì senza lasciare eredi legittimi, così si accesero aspre lotte per la successione al trono: da un lato vi era Carlo di Bassa Lorena, primo in linea dinastica, in quanto fratello di Lotario IV e quindi zio paterno di Luigi V. Il secondo pretendente al trono fu Ugo Capeto, nipote dell'Imperatore Ottone I, alleato con Adalberone vescovo di Reims, zio dell'omonimo vescovo di Laon, nonché duca dei Franchi, conte di Parigi e marchese di Neustria. , e per aver sposato una donna di rango inferiore, alla quale era preclusa quindi la possibilità di diventare regina. Ugo Capeto fu così proclamato e incoronato re presso Noyon, il 3 luglio 987, e il 30 dicembre del medesimo anno associò al trono il figlio, Roberto, a seguito di una cerimonia tenutasi a Orléans.

Lo stallo tra le casate e l'intervento decisivo di Adalberone
Carlo di Bassa Lorena non accettò la salita al trono di , così diede loro battaglia, prendendo possesso dapprima della città di Laon, incarcerando Adalberone nel maggio 988, e in seguito anche di Reims. Si venne così a creare una situazione di forte stallo tra Carolingi e Capetingi, dal momento che nessuna delle due fazioni riusciva a prevalere. Lo scioglimento si ebbe a due anni dall'inizio degli scontri, quando entrò in gioco proprio Adalberone, che una volta evaso si era di nuovo rifugiato presso Ugo Capeto. Il vescovo, per poter ridurre i Carolingi sotto scacco, finse di allearsi con Carlo stesso, invitandolo con il nipote Arnolfo presso Laon, per giurargli fedeltà. Adalberone tenne così prigionieri Carlo e Arnolfo e, il Lunedì dell'Angelo 991, li consegnò a Ugo Capeto, che si assicurò così il mantenimento stabile del trono per sé e per suo figlio Roberto. Con la morte di Carlo, avvenuta tra il 991 e il 992, si estinse la dinastia dei Carolingi.

La personalità di Adalberone
A seguito della rottura dello stallo tra Carolingi e Capetingi, ottenuta di fatto con un doppio gioco, Adalberone si guadagnò la fama di traditor vetulus tra gli scrittori suoi coevi e successivi. L'avversione contro tale personaggio emerge specialmente da parte di Richerio di Reims, il quale accosta Adalberone addirittura a Giuda Iscariota e a una figura demoniaca. Richerio è la fonte di ulteriori vicissitudini che proiettano sulla figura di Adalberone una luce ben poco positiva: infatti non solo lo incolpa di aver intrecciato una liaison amorosa con Emma d'Italia, ma lo rimprovera anche di avere congiurato, con Ottone III e i vescovi tedeschi, proprio contro re Ugo Capeto. Tuttavia le testimonianze a lui ostili di Richerio, a cui si accompagnano diverse lettere personali di Gerberto di Aurillac, si arrestano al termine del X secolo, e a esse subentrano delle fonti di diversa provenienza. Il vescovo di Laon non si accattivò la benevolenza e le simpatie degli storici nemmeno nell'XI secolo: venne infatti etichettato con epiteti negativi a causa della posizione da lui assunta, che andava contro il monachesimo cluniacense, e . La critica cui fu esposto derivò dalla posizione esplicita espressa nella sua opera più celebre: il Carmen ad Rotbertum regem. Risulta necessario affermare che, anche in questo caso, gli storici tendono ad attribuire al carattere e alla moralità di un personaggio dei fenomeni che andrebbero altresì considerati alla luce di complesse concatenazioni di eventi.

Gli ultimi anni di vita e la morte
Adalberone condusse un episcopato di quasi mezzo secolo, durante il quale visse in modo attivo e militante le vicende politiche del tempo. Nemmeno gli ultimi anni della sua esistenza furono tranquilli: . Tuttavia molti si opposero a questa sua volontà, in quanto nessun vescovo poteva rivendicare il diritto di scegliere il proprio successore. Ad ogni modo egli fallì nel proprio intento: Guirdo non gli succedette al soglio vescovile. Adalberone, uomo controverso, arrivista, talvolta manipolatore, ma più di chiunque altro distintosi nella grande scacchiera del potere, morì a Laon negli Trenta dell'XI secolo, in data 27 gennaio.

Le opere
Adalberone non si limitò a militare nelle vicissitudini politiche e dinastiche dell'epoca: infatti compose opere di varia natura.

Le opere secondarie

De summa Fidei
Adalberone redasse un componimento poetico di carattere teologico-cerimoniale, intitolato De summa Fidei, che dedicò a Re Roberto II il Pio. Si tratta di un dialogo allegorico tra il vescovo e la personificazione della Fede, che va a delineare i principali misteri da cui è costituita, in particolare il dogma della Trinità.

Epistola Fulconi Ambianensi episcopo sub dialogo directa
Tra le opere secondarie è anche annoverata una lettera indirizzata al vescovo Foulques d'Amiens, con cui l'autore immagina di confrontarsi circa le tribolazioni vissute da un mulo incapace. Il testo potrebbe essere legato alla scuola di Gerberto, nonché alla dottrina di Boezio e di Marziano Capella. Il contenuto dell'epistola è di spiccato carattere buffonesco, e non è altro che un esercizio scolastico, atto alla risoluzione del maggior numero di sillogismi. È possibile dedurre che il testo abbia avuto un certo successo, grazie al numero di copie pervenute sino ad oggi.

Rhytmus satiricus adversus Landericum Nivernensem comitem
Il , indirizzata contro Landri de Nevers, forse databile tra marzo e ottobre 996. In essa si evince ancora la tendenza ai giochi di parole marcatamente costruiti attorno alla figura retorica dell'allusione, caratterizzati da uno stile ellittico, mirato più all'effetto ritmico che alla chiarezza espressiva. L'opera ha come contenuto la satira politica contro la condotta cluniacense, che sarà poi trattata in modo più ampio da Adalberone nella sua opera più celebre, il Carmen ad Rotbertum regem.

Mabillon ha pubblicato l'opera basandosi su un manoscritto di Beauvais scoperto dal canonico Geoffri Humann. Non è stato possibile rintracciare questo modello e si può utilizzare solo l'edizione data da Mabillon nei suoi Analecta vetera (t. III, p. 533; nova editio, pp. 366-367), e riprodotta dai continuatori di Bouquet (t X, pagg. 93-94).

L'opera principale: il Carmen ad Rotbertum regem

In età avanzata Adalberone scrisse la propria opera più celebre, conosciuta con il titolo di Carmen ad Rotbertum regem, redatta tra il 1027 e il 1031. Si tratta di un dialogo latino in esametri tra il vescovo e il re Roberto II (996-1031), diviso in più sezioni, considerato il testamento politico dell'autore. Il tema principale che si delinea è lo schema trifunzionale di una società utopisticamente funzionante, che si inserisce nel solco di un'aspra critica contro l'ordine cluniacense.

L'opera è trasmessa nel manoscritto: Paris, Bibliothèque nationale de France, lat. 14192, ff. 32v-43r, sec. XII.

Il contesto in cui si inserisce l'opera
Il Carmen viene scritto da Adalberone in un momento di crisi della monarchia, attorno al 1025: se da un lato il sovrano non godeva più del sostegno di nobili e vescovi, dall'altro i legami familiari e il vassallaggio giungevano in primo piano. Inoltre a quei tempi era in crescita l'influenza dei cluniacensi che si appoggiavano al papato e l'abate Odilone di Cluny godeva di immunità e gestiva il potere temporale, oltre che quello spirituale. Tutto ciò era inconcepibile per Adalberone, che paragonò tale contesto all'immagine del "mondo sottosopra", ben nota nella sua epoca. Nel dialogo il vescovo esorta quindi il re Roberto a ristabilire un equilibrio, seguendo il "naturale" e "divino" ordine tripartito della società. Adalberone però sa bene che il sovrano non gli avrebbe dato ascolto, pertanto si limita a ridere di ciò che sta accadendo, gettando così un ultimo sguardo critico verso una società dalla quale non si aspetta più nulla.

Struttura e analisi dell'opera
Il Carme inizia con le lodi di Adalberone indirizzate al sovrano e, in seguito, la prima battuta del vescovo si apre in medias res: "Sono chiari gli scritti: quelli che ci tramandano i celebri Crotoniati. Questo è il loro titolo: legge antichissima. Essi insegnano che sia ottenuto con la forza ciò che volontariamente viene negato, e che, se piace all'impero, venga trasformato nell'ordine". Il termine "crotoniati" inerisce ai cluniacensi, in questa sede attaccati da Adalberone, in quanto desiderosi di effettuare una sovversione dell'ordine sociale che avrebbe condotto il mondo alla rovina, con il loro comportamento e i loro scritti. Anche la seconda sezione dell'opera ha come oggetto la demonizzazione della degenerazione del monachesimo cluniacense che, tra X e XI secolo, procedeva sempre più nel solco di una laicizzazione dei costumi. In particolar modo l'attacco è rivolto contro l'abate Odilone di Cluny (994-1048), il quale avrebbe traviato il personaggio fittizio del monaco che, recatosi proprio presso Cluny, ne sarebbe ritornato abbigliato da soldato e desideroso di moglie e figli. L'accostamento del monaco a un soldato è significativo: i monaci si autodefinivano come una militia di Dio, ma Adalberone afferma che dall'XI secolo i cluniacensi abbiano travisato tale concezione, intromettendosi nelle attività degli altri status, immischiandosi nella vita mondana e superando i vincoli della loro attività ecclesiastica. Di grande interesse è di certo la terza sezione del dialogo, la più corposa, in cui si espone al sovrano il modello della società trifunzionale, opposta di conseguenza al mondo disordinato che la condotta dei cluniacensi andava propugnando. I versi dal 297 al 301 esprimono in breve, ma efficacemente, la struttura della società proposta dal vescovo di Laon: "Tripartita, dunque, è la casa di Dio, che invece è creduta una: quaggiù alcuni pregano, altri combattono, altri ancora lavorano; le tre componenti coesistono e non sopportano di essere divise. Così sull'ufficio dell'una poggia l'opera delle altre due, ciascuna a sua volta recando sollievo a tutte le altre". Nella quarta parte del poemetto Adalberone esorta ulteriormente il sovrano, reticente, affinché si mobiliti per poter mettere in atto la costruzione di tale società. Ciò funge da preambolo alla parte conclusiva del Carme in cui non solo si esaltano la dinastia dei Carolingi e il regnum Francorum, ma si ha la presentazione da parte del vescovo del progetto di riforma dell'assetto ecclesiastico e politico secondo cui ogni individuo dovrebbe adempiere ai propri doveri, in base a un ruolo ben definito. Tuttavia tali proposte vengono smontate dal sovrano con una pungente ironia, chiaro attacco satirico da parte del vescovo nei confronti del monarca.

La società trifunzionale
. La società utopistica propugnata è delineata come tripartita per rispecchiare il mistero dell'unità e della trinità di Dio nel suo creato; risulta però necessario affermare che le classificazioni in cui ricadono gli individui sono sostanzialmente due: quella degli uomini che conducono una vita contemplativa, gli oratores, e quella degli uomini che svolgono attivamente delle opere con riscontro pratico, i bellatores e i laboratores. La società cristiana sarebbe quindi perfettamente organizzata e funzionante, a patto che tali "ingranaggi" operino in armonia reciproca e complementare, senza mai confluire in un ceto diverso dal proprio. Coloro che conducono una vita contemplativa debbono assumersi l'onere di gestire il rapporto di tutta l'umanità con Dio, preparando gli individui alla vita ultraterrena, che sarebbe altrimenti loro preclusa. Chi combatte, invece, ha il compito di difendere la società dalle ingiustizie e dai soprusi; da ultimo i laboratores conferiscono sostentamento a tutti i ceti, grazie al proprio lavoro.

Lo stile di Adalberone
Si può osservare come nelle opere del vescovo vi sia uno spiccato virtuosismo che va a incorniciare la satira, sostenuto dalla profonda conoscenza del latino da parte di Adalberone. Tali caratteristiche resero gli scritti del vescovo molto apprezzati anche nel XII secolo. Lo stile dell'autore viaggia su vari binari: retorico, satirico, teologico e logico-buffonesco, e ciò rimanda allo spirito e alla tradizione della scuola di Reims. Adalberone, nonostante la carica episcopale e il proprio incisivo operato politico (non sempre ortodosso), non si è dopotutto distaccato dal ricordo della gioventù, legato agli anni della formazione, esprimendo un forte gusto per il ritmo e per i giochi di parole.

Note

Bibliografia
 Otto Gerhard Oexle, Paradigmi del sociale. Adalberone di Laon e la società tripartita del Medioevo trad. Roberto Delle Donne, Salerno, Carlone 2000.
 Ferdinand Lot, Les derniers Carolingiens, Paris 1891, (Bibliothèque de l'École des Hautes Études, sciences philologiques et historiques, 87).
 Ferdinand Lot, Études sur le règne de Hugues Capet et la fin du X siècle, Paris 1903 (Bibliothèque de l'École des Hautes Études, sciences philologiques et historiques, 147).
 Hugonis Floriacensis Opera Historica, ed. Gregorius Heinricus Pertz, in «Monumenta Germaniae Historica» Scriptorum, Tomus IX.
 Julien Havet, Lettres de Gerbert, Alphonse Picard Éditeur, Paris, 1889.
 François Guizot, Notice sur Adalbéron in «Collection des mémoires relatifs à l'histoire de France», Parigi, 1824.
 Richer, Histoire de France, a cura di Robert Latouche, vol 2 (Les classiques de l'histoire de France au moyen âge 17), Paris 1937.
 G.A. Hückel, Les poèmes satiriques d'Adalbéron, Mélanges d'histoire du Moyen âge publiés sous la direction de Monsieur le professeur Luchaire, Paris, 1901.
 Jean François Lemarignier, Le gouvernment royal aux premiers temps capétiens, Paris, 1965.
 Adalbéron de Laon, Poème au roi Robert, ed Claude Carozzi trad., Paris, Les Belles Lettres 1979.
 Carl Erdmann, Alle origini dell'idea di Crociata, trad. it. a cura di Roberto Lambertini, Spoleto, Centro italiano di studi sull'Alto Medioevo,1996.
 Robert T. Coolidge, Adalbero, Bishop of Laon, Lincoln, University of Nebraska Press, 1965, in «Studies in Medieval and Renaissance History», 2 (1965), pp. 3-114.
 Nicolò Silvio Gavuglio, Attiva e Contemplativa. Coppie spaiate ed unici scompagnati dall'antichità a Francesco e Chiara.

Altri progetti

Collegamenti esterni

Scrittori in lingua latina
Casa delle Ardenne


Per- and polyfluoroalkyl substances, collectively referred to by the abbreviation PFAS, continue to grab headlines as communities across the country worry about the safety of their drinking water. This family of more than 3,000 man-made compounds that made their way into manufacturing in the 1940s and 1950s are stable, mobile, persistent, bio-accumulative and seemingly ubiquitous. Public concern and the need to regulate PFAS has, in many respects, outpaced the study of PFAS, and regulators are grappling with determining the toxicity of individual PFAS compounds and establishing safe exposure levels.
In 2009, the Federal Government established a short-term provisional health advisory for two PFAS compounds - PFOS and PFOA - of 200 ppt and 400 ppt respectively. In 2016, the Federal Government upped the ante by issuing a lifetime health advisory for these two PFAS compounds of 70 ppt, but these are just advisory standards. Meanwhile in 2018, EPA conducted "listening sessions" around the country and Congress held hearings on the topic of regulating PFAS. By most estimations, EPA is still years away from setting maximum contaminant levels for individual PFAS compounds, but increasingly, EPA is requiring responsible parties to sample for PFAS compounds during five-year reviews at Superfund sites.
The States have been filling the void with a patchwork of inconsistent standards. As of last summer, 18 States had standards for one PFAS compound or another and New Jersey remained at the vanguard of State efforts to set limits on PFAS compounds in drinking water.
In September of 2018, New Jersey established a maximum contaminant level (MCL) for one PFAS compound known as PFNA. Under the New Jersey Safe Drinking Water Act, PFNA now has an MCL of 13 ppt and public water systems in New Jersey will begin sampling for PFNA during the first quarter of 2019. In addition, the New Jersey Drinking Water Quality Institute (DWQI) has recommended health-based MCLs for PFOA of 14 ppt and PFOS of 13 ppt, far lower than the Federal advisory levels of 70 ppt. We can expect these New Jersey DWQI recommendations to become MCLs.
In 2019, we can expect New Jersey to press forward with its aggressive health-based standards for other PFAS compounds in drinking water. Because New Jersey is at the forefront of the efforts to regulate and remediate PFAS, we will also likely see several technical issues play out in New Jersey as utilities grapple with sampling for PFAS compounds in the parts per-trillion and the best strategies for remediating PFAS contamination. Parties responsible for remediating contaminated sites will also be required to investigate and, if necessary, remediate PFAS to these very low levels. We can expect other States to follow New Jersey's lead in the efforts to address PFAS contamination and limit exposure to PFAS.


text:
package cli

import (
	"fmt"
	"io"
	"sort"
	"strings"
	"text/template"

	cmds "github.com/ipfs/go-ipfs/commands"
)

const (
	requiredArg = "<%v>"
	optionalArg = "[<%v>]"
	variadicArg = "%v..."
	shortFlag   = "-%v"
	longFlag    = "--%v"
	optionType  = "(%v)"

	whitespace = "\r\n\t "

	indentStr = "  "
)

type helpFields struct {
	Indent      string
	Usage       string
	Path        string
	ArgUsage    string
	Tagline     string
	Arguments   string
	Options     string
	Synopsis    string
	Subcommands string
	Description string
	MoreHelp    bool
}

// TrimNewlines removes extra newlines from fields. This makes aligning
// commands easier. Below, the leading + tralining newlines are removed:
//	Synopsis: `
//	    ipfs config <key>          - Get value of <key>
//	    ipfs config <key> <value>  - Set value of <key> to <value>
//	    ipfs config --show         - Show config file
//	    ipfs config --edit         - Edit config file in $EDITOR
//	`
func (f *helpFields) TrimNewlines() {
	f.Path = strings.Trim(f.Path, "\n")
	f.ArgUsage = strings.Trim(f.ArgUsage, "\n")
	f.Tagline = strings.Trim(f.Tagline, "\n")
	f.Arguments = strings.Trim(f.Arguments, "\n")
	f.Options = strings.Trim(f.Options, "\n")
	f.Synopsis = strings.Trim(f.Synopsis, "\n")
	f.Subcommands = strings.Trim(f.Subcommands, "\n")
	f.Description = strings.Trim(f.Description, "\n")
}

// Indent adds whitespace the lines of fields.
func (f *helpFields) IndentAll() {
	indent := func(s string) string {
		if s == "" {
			return s
		}
		return indentString(s, indentStr)
	}

	f.Arguments = indent(f.Arguments)
	f.Options = indent(f.Options)
	f.Synopsis = indent(f.Synopsis)
	f.Subcommands = indent(f.Subcommands)
	f.Description = indent(f.Description)
}

const usageFormat = "{{if .Usage}}{{.Usage}}{{else}}{{.Path}}{{if .ArgUsage}} {{.ArgUsage}}{{end}} - {{.Tagline}}{{end}}"

const longHelpFormat = `USAGE
{{.Indent}}{{template "usage" .}}

{{if .Arguments}}ARGUMENTS

{{.Arguments}}

{{end}}{{if .Options}}OPTIONS

{{.Options}}

{{end}}{{if .Description}}DESCRIPTION

{{.Description}}

{{end}}{{if .Subcommands}}SUBCOMMANDS
{{.Subcommands}}

{{.Indent}}Use '{{.Path}} <subcmd> --help' for more information about each command.
{{end}}
`
const shortHelpFormat = `USAGE
{{.Indent}}{{template "usage" .}}
{{if .Synopsis}}
{{.Synopsis}}
{{end}}{{if .Description}}
{{.Description}}
{{end}}{{if .Subcommands}}
SUBCOMMANDS
{{.Subcommands}}
{{end}}{{if .MoreHelp}}
Use '{{.Path}} --help' for more information about this command.
{{end}}
`

var usageTemplate *template.Template
var longHelpTemplate *template.Template
var shortHelpTemplate *template.Template

func init() {
	usageTemplate = template.Must(template.New("usage").Parse(usageFormat))
	longHelpTemplate = template.Must(usageTemplate.New("longHelp").Parse(longHelpFormat))
	shortHelpTemplate = template.Must(usageTemplate.New("shortHelp").Parse(shortHelpFormat))
}

// LongHelp writes a formatted CLI helptext string to a Writer for the given command
func LongHelp(rootName string, root *cmds.Command, path []string, out io.Writer) error {
	cmd, err := root.Get(path)
	if err != nil {
		return err
	}

	pathStr := rootName
	if len(path) > 0 {
		pathStr += " " + strings.Join(path, " ")
	}

	fields := helpFields{
		Indent:      indentStr,
		Path:        pathStr,
		ArgUsage:    usageText(cmd),
		Tagline:     cmd.Helptext.Tagline,
		Arguments:   cmd.Helptext.Arguments,
		Options:     cmd.Helptext.Options,
		Synopsis:    cmd.Helptext.Synopsis,
		Subcommands: cmd.Helptext.Subcommands,
		Description: cmd.Helptext.ShortDescription,
		Usage:       cmd.Helptext.Usage,
		MoreHelp:    (cmd != root),
	}

	if len(cmd.Helptext.LongDescription) > 0 {
		fields.Description = cmd.Helptext.LongDescription
	}

	// autogen fields that are empty
	if len(fields.Arguments) == 0 {
		fields.Arguments = strings.Join(argumentText(cmd), "\n")
	}
	if len(fields.Options) == 0 {
		fields.Options = strings.Join(optionText(cmd), "\n")
	}
	if len(fields.Subcommands) == 0 {
		fields.Subcommands = strings.Join(subcommandText(cmd, rootName, path), "\n")
	}

	// trim the extra newlines (see TrimNewlines doc)
	fields.TrimNewlines()

	// indent all fields that have been set
	fields.IndentAll()

	return longHelpTemplate.Execute(out, fields)
}

// ShortHelp writes a formatted CLI helptext string to a Writer for the given command
func ShortHelp(rootName string, root *cmds.Command, path []string, out io.Writer) error {
	cmd, err := root.Get(path)
	if err != nil {
		return err
	}

	// default cmd to root if there is no path
	if path == nil && cmd == nil {
		cmd = root
	}

	pathStr := rootName
	if len(path) > 0 {
		pathStr += " " + strings.Join(path, " ")
	}

	fields := helpFields{
		Indent:      indentStr,
		Path:        pathStr,
		ArgUsage:    usageText(cmd),
		Tagline:     cmd.Helptext.Tagline,
		Synopsis:    cmd.Helptext.Synopsis,
		Description: cmd.Helptext.ShortDescription,
		Subcommands: cmd.Helptext.Subcommands,
		Usage:       cmd.Helptext.Usage,
		MoreHelp:    (cmd != root),
	}

	// autogen fields that are empty
	if len(fields.Subcommands) == 0 {
		fields.Subcommands = strings.Join(subcommandText(cmd, rootName, path), "\n")
	}

	// trim the extra newlines (see TrimNewlines doc)
	fields.TrimNewlines()

	// indent all fields that have been set
	fields.IndentAll()

	return shortHelpTemplate.Execute(out, fields)
}

func argumentText(cmd *cmds.Command) []string {
	lines := make([]string, len(cmd.Arguments))

	for i, arg := range cmd.Arguments {
		lines[i] = argUsageText(arg)
	}
	lines = align(lines)
	for i, arg := range cmd.Arguments {
		lines[i] += " - " + arg.Description
	}

	return lines
}

func optionFlag(flag string) string {
	if len(flag) == 1 {
		return fmt.Sprintf(shortFlag, flag)
	} else {
		return fmt.Sprintf(longFlag, flag)
	}
}

func optionText(cmd ...*cmds.Command) []string {
	// get a slice of the options we want to list out
	options := make([]cmds.Option, 0)
	for _, c := range cmd {
		for _, opt := range c.Options {
			options = append(options, opt)
		}
	}

	// add option names to output (with each name aligned)
	lines := make([]string, 0)
	j := 0
	for {
		done := true
		i := 0
		for _, opt := range options {
			if len(lines) < i+1 {
				lines = append(lines, "")
			}

			names := sortByLength(opt.Names())
			if len(names) >= j+1 {
				lines[i] += optionFlag(names[j])
			}
			if len(names) > j+1 {
				lines[i] += ", "
				done = false
			}

			i++
		}

		if done {
			break
		}

		lines = align(lines)
		j++
	}
	lines = align(lines)

	// add option types to output
	for i, opt := range options {
		lines[i] += " " + fmt.Sprintf("%v", opt.Type())
	}
	lines = align(lines)

	// add option descriptions to output
	for i, opt := range options {
		lines[i] += " - " + opt.Description()
	}

	return lines
}

func subcommandText(cmd *cmds.Command, rootName string, path []string) []string {
	prefix := fmt.Sprintf("%v %v", rootName, strings.Join(path, " "))
	if len(path) > 0 {
		prefix += " "
	}
	subcmds := make([]*cmds.Command, len(cmd.Subcommands))
	lines := make([]string, len(cmd.Subcommands))

	i := 0
	for name, sub := range cmd.Subcommands {
		usage := usageText(sub)
		if len(usage) > 0 {
			usage = " " + usage
		}
		lines[i] = prefix + name + usage
		subcmds[i] = sub
		i++
	}

	lines = align(lines)
	for i, sub := range subcmds {
		lines[i] += " - " + sub.Helptext.Tagline
	}

	return lines
}

func usageText(cmd *cmds.Command) string {
	s := ""
	for i, arg := range cmd.Arguments {
		if i != 0 {
			s += " "
		}
		s += argUsageText(arg)
	}

	return s
}

func argUsageText(arg cmds.Argument) string {
	s := arg.Name

	if arg.Required {
		s = fmt.Sprintf(requiredArg, s)
	} else {
		s = fmt.Sprintf(optionalArg, s)
	}

	if arg.Variadic {
		s = fmt.Sprintf(variadicArg, s)
	}

	return s
}

func align(lines []string) []string {
	longest := 0
	for _, line := range lines {
		length := len(line)
		if length > longest {
			longest = length
		}
	}

	for i, line := range lines {
		length := len(line)
		if length > 0 {
			lines[i] += strings.Repeat(" ", longest-length)
		}
	}

	return lines
}

func indent(lines []string, prefix string) []string {
	for i, line := range lines {
		lines[i] = prefix + indentString(line, prefix)
	}
	return lines
}

func indentString(line string, prefix string) string {
	return prefix + strings.Replace(line, "\n", "\n"+prefix, -1)
}

type lengthSlice []string

func (ls lengthSlice) Len() int {
	return len(ls)
}
func (ls lengthSlice) Swap(a, b int) {
	ls[a], ls[b] = ls[b], ls[a]
}
func (ls lengthSlice) Less(a, b int) bool {
	return len(ls[a]) < len(ls[b])
}

func sortByLength(slice []string) []string {
	output := make(lengthSlice, len(slice))
	for i, val := range slice {
		output[i] = val
	}
	sort.Sort(output)
	return []string(output)
}

redpajama_set_name: RedPajamaGithub


Each of the alumni below were a part of Football while they attended East Hardy HS. Register if you would like to be listed below.
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Discussion in 'Boxing Discussion' started by Divatologist, Jun 29, 2008.
I forgot to mention that At the press confrence they announced that because the fight was so good that they would be airing the first replay on hbo on thursday, there then will be another and usual replay on saturday.
I searched youtube but by the time I got there the videos had already been removed.
lol, I dont know why they didnt run a Countdown show for this fight. They did one for Jermain Taylor fights which were not even PPV and for DLH's fight w/ Forbes that was not a PPV either. If you want to play the "well their popular" card then, okay, they did one for Marquez-Barrerra.
Nice Clay Davis reference... I'd expect nothing else from a MD guy.


Our Buddy Ball Soccer Program provides sports opportunities for physically and developmentally challenged youth.
This wonderful program is offered on Saturday mornings for one hour. Each season (spring and fall) runs for approximately 8 weeks.
Experience in soccer is not necessary, just a desire to help someone else and have fun.
The soccer program takes place at Community Park, Route 130 South, in North Brunswick, just past the Adams Station intersection.
Come to Community Park by 10:00 a.m.
Please come – You make a difference!
Looking forward to a fun season – thanks for volunteering!


text:
Preclinical evidence for therapeutic efficacy of selective estrogen receptor modulators for uterine leiomyoma.
OBJECTIVE: Uterine leiomyoma are the most common gynecologic neoplasm and a primary cause of hysterectomy in premenopausal women. Preclinical studies were conducted in the Eker rat model to investigate the potential efficacy of selective estrogen receptor modulators (SERMs) as therapeutic agents for this tumor. METHODS: Twelve-month-old Eker rats were randomized into five treatment arms including tamoxifen, placebo, LY 326315, vehicle, and no treatment. Additional animals received ovariectomy or sham surgery at 4 months of age to determine the effect of ovarian ablation on tumor development. The study was terminated after 2 to 4 months of treatment, and tumor incidence, size, proliferative and apoptotic indices were determined. Size and incidence data were subjected to chi-square analysis. One-way analysis of variance and Fisher's least significant difference tests were used to compare proliferative and apoptotic indices. RESULTS: Ovariectomy virtually ablated leiomyoma development, indicating that these tumors were dependent on ovarian hormones for growth and development. Treatment with tamoxifen or raloxifene analog LY 326315 reduced leiomyoma incidence by 40-60% and reduced the size of remaining tumors. The effect of SERMs on leiomyomas was mediated by a decrease in cell proliferation without a decrease in apoptotic index. CONCLUSION: SERMs have been shown to be therapeutically efficacious against breast cancer and to reduce tumor incidence in women at increased risk for this disease. The present data indicate that therapeutic efficacy may also be extended to uterine leiomyoma and demonstrate the utility of this animal model for preclinical studies to identify new therapeutic modalities.
Everitt, Jeffrey Ira
Walker, CL; Burroughs, KD; Davis, B; Sowell, K; Everitt, JI; Fuchs-Young, R
Journal of the Society for Gynecologic Investigation
Disease Models, Animal
Estrogen Antagonists
In Situ Nick-End Labeling
Leiomyoma
Ovariectomy
Rats, Mutant Strains
Uterine Neoplasms


The Registration screen can be accessed after you have the client registered on your device. This can be helpful when registering your device to additional sites for a multi-site configuration. Additionally, this also allows you to access your registration information.
Choose the Settings option. The Settings screen displays.
In the Settings screen, choose the Registration option. The Registration screen displays, allowing you to re-register the application.
The push listener status information can be accessed from the App Status screen in the Spok Mobile application. The Push Listener Status feature notifies you if there are any errors with your push connection. In most configurations, this connection is responsible for ensuring that you receive your push notifications (messages) from the server.
In the Settings screen, choose the Push Listener Status option. The Push Status screen displays.
The network status information can be accessed from the App Status screen in the Spok Mobile application. The Network Status feature reports on any network requests that are being executed. For example, these can be any requests that the client sends to the client server to request information, like sending status updates, getting messages, or getting settings.
In the Settings screen, choose the Network Service Status option. The Network Status screen displays.
The Enable Health Check settings option allows you to configure if the Health Check feature should continuously run to detect potential application errors. When the option is enabled, the Health Check feature runs on your device; when the option is disabled, the Health Check feature does not run on your device. For detailed information on how to enable the Health Check feature, please refer to Troubleshooting.
The Health Check feature in the Spok Mobile application identifies potential issues with connections to and from the application. In the Health Check screen, different colored icons represent varying levels of potential connection failures that can occur. For detailed information on how to access and use the Health Check feature for troubleshooting the Spok Mobile application, please refer to Troubleshooting.


text:
Günter Vetter (* 4. Juli 1936 in Dornbirn; † 6. Oktober 2022) war ein österreichischer Politiker (ÖVP) und Unternehmer. Vetter war von 1984 bis 1989 als Landesrat Mitglied der Vorarlberger Landesregierung.

Ausbildung und Beruf
Günter Vetter wurde am 4. Juli 1936 als Sohn von Ludwig und Paula Vetter in der Vorarlberger Stadt Dornbirn geboren. In seiner Heimatstadt besuchte er auch die Volksschule sowie die Unterstufe des Bundesgymnasiums Dornbirn. Nachdem er in zwei Jahren die Handelsschule Lustenau absolviert hatte, begann er im Jahr 1952 eine Lehre als Steinmetz im elterlichen Steinmetzbetrieb. Diese Lehre schloss er 1955 mit der Gesellenprüfung ab.

Von 1958 bis 1960 besuchte Vetter zusätzlich die dreisemestrige Bundesfachschule für Steintechnik in Salzburg, wo er im Jahr 1960 auch die Meisterprüfung ablegte. Als nunmehriger Steinmetzmeister trat er wiederum in den väterlichen Betrieb ein, den Vetter mit 1. Jänner 1962 übernahm. Am 19. Juli 1968 heiratete er Inge Stembal, mit der er in weiterer Folge in den Jahren 1969 und 1971 zwei Töchter bekam. Ab 1975 war er zudem gerichtlich beeideter Sachverständiger für das Steinmetzwesen. 1997 gab Günter Vetter die Geschäftsführung des eigenen Steinmetzbetriebs an einen langjährigen Mitarbeiter ab und 2008 endete auch seine Tätigkeit als Gerichtssachverständiger.

1991 wurde Vetter der Berufstitel Kommerzialrat verliehen, 1992 erhielt er von der Bundesinnung der Steinmetze das Goldene Ehrenzeichen. Er war von 1968 bis 1993 Landes-Innungsmeister der Steinmetze und von 1975 bis 1980 Stellvertreter des Bundesinnungsmeisters.

Politischer Werdegang
Im Jahr 1965 wurde Günter Vetter erstmals für die ÖVP Vorarlberg zum Ersatzmitglied der Dornbirner Stadtvertretung gewählt. 1972 wurde er zum vollwertigen Mitglied der Stadtvertretung gewählt und war dort für die ÖVP bis 1980 im Bau-, Schul- und Straßenausschuss tätig. Am 6. November 1984 wurde Günter Vetter vom damaligen Landeshauptmann Herbert Keßler als Landesrat für Gewerbe und Straßenbau, Hochbau sowie Fremdenverkehr in die Landesregierung berufen. Diese Funktion führte er auch nach dem Wechsel an der Regierungsspitze durch den Rücktritt Keßlers in der Regierung von dessen Nachfolger Martin Purtscher aus. Mit dem Ende der Legislaturperiode am 24. September 1989 schied Vetter wieder aus der Landesregierung aus.

Weblinks

 Biografie von Günter Vetter auf der Website des Vorarlberger Landtags.

Einzelnachweise

Landesrat (Vorarlberg)
Politiker (Dornbirn)
Politiker (20. Jahrhundert)
Wirtschaftskammerfunktionär
Kommerzialrat
ÖVP-Mitglied
Steinmetz (Österreich)
Österreicher
Geboren 1936
Gestorben 2022
Mann


For my first literature party, I picked a piece that was surprisingly delightful to me: A Midsummer Night's Dream by William Shakespeare. It's obviously a party for the outdoors with a ton of directly repeatable thematic elements and characters. I used the following words as a guide to develop the book into a theme party.
A Midsummer Night's Dream takes place in the woods of Athens, so the meal was inspired byGreek food and natural dishes. View the menu on Pinterest.
Quotations : I took 10 quotes from the book and rolled them into little scrolls. While eating dinner, each guest read a quote and the rest tried to guess which character spoke the line.
Laurel Wreaths : I made basic laurel wreaths out of lavender twigs (but you could use any long frond or wire). The ladies got to put wildflowers, sprigs, and baby's breath into their own laurel wreaths to wear for the evening.
Flowers : Everything (except the always inexpensive baby's breath) was cut from my yard : lavender, sage, oregano, evergreen fronds.


text:
Home > Problem: Williams College Kowtows to Students Saying 'Free Speech Harms'
Problem: Williams College Kowtows to Students Saying 'Free Speech Harms'
July 19, 2019 Topic: Politics Region: Americas Blog Brand: The Buzz Tags: Freedom Of SpeechHate SpeechCollegesLiberalsSocial Justice WarriorsWIlliams College
by Jonathan Butcher
Some Williams students will have none of it. Maroja says that more than a dozen of them barged into a faculty meeting last November holding signs such as "free speech harms" and saying faculty were trying to "kill" the students.
It became known as "The Bloody Morning Scout."
In 1755, Ephraim Williams Jr. led colonial forces and some 200 Mohawk allies into battle against French and Indian troops near Lake George, New York. But Williams marched into a deadly ambush.
He was killed in the fight, and his troops were driven back, suffering tremendous losses. But history records that those under his command fought bravely and made "a very handsome retreat."
Today, the college that bears Williams' name has been ambushed by its own students, and school officials have beaten a hasty and inglorious retreat.
At Williams College in Massachusetts, biology professor Dr. Luana Maroja wrote online last year that she was concerned about student and administrator attitudes regarding free speech.
She gathered more than 100 faculty signatures on a petition calling for the school to adopt what is known as the "Chicago Principles," a statement in favor of free expression developed by the University of Chicago.
More than 60 schools have endorsed this statement, a welcome response to the disrupted events and other nonsense that have plagued universities around the country.
After that, tensions escalated. The College Fix reports that a professor subsequently "threatened violence" if Williams adopted the Chicago statement. All this because Maroja dared to promote the idea that Williams should maintain a "climate of mutual respect."
Williams is a private school, so the First Amendment doesn't automatically apply to institutional activity there as it does on public college campuses. Still, students should expect that the school would want to promote the civil exchange of ideas.
And when discussions devolve into threats of violence, it's small wonder that students opt to pursue truth via hysterical rhetoric and physical confrontation rather than through discussion and debate.
If you expected the college administration to stand up for free speech and mutual respect, think again. Earlier this week, Williams' officials waved a white flag and announced the school will not adopt the Chicago statement but draft "speaker invitation guidelines."
Turning away from principles protecting free speech adds to suspicions that there is a free speech crisis—or worse—at Williams.
Last month, the U.S. Department of Education launched an investigation of the college after its student government denied a pro-Israel student group official status.
As activity on campuses around the U.S. in recent years demonstrates, when individuals cannot express themselves without fear of harm, oppressors will threaten—and commit—harm.
A recent survey of college students found that more than half of respondents say shouting down speakers is "always" or "sometimes" acceptable. Sixteen percent of respondents say it is "always" or "sometimes" acceptable to use violence to stop a speech protest or rally.
These responses are disturbing. Civil society—life in the office, in your neighborhood, at your child's soccer game—depends on people tolerating those who do not share their beliefs, not trying to silence them through intimidation or violence. The American dream dies if we live in fear of persecution.
Williams officials should take seriously the threats posed to the next generation of adults that come from limiting the ideas that can be considered on campus.
The school should require students to attend sessions on free speech during freshman orientation—and explain that hiding from ideas with which you disagree is a poor strategy for life.
New policies for public universities in Alabama, Arizona, Georgia, North Carolina, and Wisconsin now serve as examples of how to protect everyone's freedom of expression in a campus community.
These policies affirm the idea that anyone should be allowed to protest or demonstrate in public areas as long as they do not prevent others from doing the same. Moreover, they stipulate that their public universities must be prepared to penalize individuals who silence others.
No, Williams is not a public school. Its trustees and administrators have the right to set whatever campus policies they see fit. But considering how quickly the campus "conversation" on free speech escalated from a discussion of mutual respect to threats of violence, Williams' students and faculty are right to ask: "Will I be threatened when I speak out on campus? And do I want to live in a place like that?"
This article by Jonathan Butcher originally appeared at The Daily Signal. This article first appeared in 2019.
Source URL: https://nationalinterest.org/blog/buzz/problem-williams-college-kowtows-students-saying-free-speech-harms-68127


Size: 12" height, 11" length, 7" width. Size matches well with our other temple sets.
Great product! Fun project to do with the grandkids!
Bought this as a Christmas and open Christmas Day. I was missing some pieces, but able to get it resolved. Overall I enjoyed it.
MY GREAT GRANDSON PICKED IT OUT PUT IT TOGETHER , PEOPLE AT CHURCH REALLY LIKED IT . THE MISSIONARIES WANTED TO GET ONE. ITS BEAUTIFUL. HE WANTS ANOTHER TEMPLE AND NATIVITY SET.
So happy we bought these for general conf weekend!
We bought these for our 5 kids (ages 15-5) to put together during general conference weekend. They are avid brick builders so these temples were just perfect for them. They said the directions were fairly easy to follow and we love love love the finished product!! We were able to complete all three (in teams) while watching Saturday and Sunday conference. Super happy with our purchase!
My daughter and I had a great time putting this together. We did this shortly before I took her to see the real thing. Great experience. Can't wait to do another.
My husband loves the name brand, but I was having a hard time finding an affordable but large & challenging set that was meaningful! This was perfect!
Watch this fun video and see how the Brick'Em Young St. George Temple is built!
I buy these temples for my daughter and her family to put together as a family. This was number five for them. For five years in a row on Christmas Day. The family loves putting them together. Thank you for such an awesome idea.
Thank you for shipping so quickly and free! Rare and very much appreciated. Also appreciate the efficient courtesy notice given when the item became available.
Introduction:: Use these figurines to tell multiple stories from the Book of Mormon. Download the instruction manual from the link below and get a better idea of the numerous stories you can tell with this set!
The downloadable instruction manual is free of charge. You don't have to purchase a Brick'Em Young to enjoy. All copyrights, trademarks, intellectual property belong to Brick'Em Young. Hope you enjoy building this set!
Watch this fun video and see how the Brick'Em Young Book of Mormon set is built!
Mix & match to make your favorite characters: Captain Moroni, Ammon, Lehi & Sariah, Nephi & his wife, Abinadi, King Benjamin, Alma, King Noah, King and Queen Lamoni, Abish, Ammonite Mothers and their Stripling Warrior sons, Samuel the Lamanite, Mormon, Moroni.
My son loved these. His only complain was that the minifigure set was mix and match. He would have preferred to create them all at once.
It's great to have characters to go along with the buildings. My kids love pretending Nephi is at the temple.
Very nice—can be used with Book of Mormon stories. Happy for all temple and Book of Mormon creations.
Well made and will be lots of fun for my grandchildren. Lots of gospel stories to tell as they play with them.
There wasn't as much to this set as we would have liked.