text:
(tentative; updated 12/16/2020)
5A Introduction to Architecture & Environment - Chattopadhyay
6C Art Survey III: Modern - Contemporary - Sorkin
6DS Survey: History of Art in China - Sturman
105Q Art and War - Badamo
107A Painting in the 15th-Century Netherlands - Meadow
119F Art of the Post-War Period, 1945 - 1968 - Monahan
121D African American Art and the African Legacy - Ogbechie
132I Art of Empire - Khoury
136C Architecture of the United States - White
138B Contemporary Photography - TBA
138C Social Documentary Photography - TBA
141A Museum Practices and Techniques - TBA
141D Birth of the Modern Museum - Paul
186A/293D Seminar in Research Methods: Digital Humanities - TBA
186RS/282A Seminar in Chinese Art - Sturman
186SS Seminar in Architectural History & Urbanism - Chattopadhyay
187Z Museum Studies Seminar - TBA
253D Topics in Medieval Architecture & Sculpture - Badamo
282A/186RS Topics on East Asian Art - Sturman
293D/186A Research Methods: Digital Humanities - TBA
5A Introduction to Architecture & Environment Chattopadhyay
Architecture is an act of place-making through which humans have constructed their relation with nature. This course Introduces the history of these strategies of place-making, interpretative concepts, and discipline-specific terminology in order to develop a critical understanding of the relationship between nature and built form.
GE: AREA F, WRITING
6C Art Survey III: Modern - Contemporary Sorkin
HONORS SECTION: TBA
6DS Survey: History of Art in China Sturman
The History of Art in China is a survey course that introduces the major traditions and monuments of Chinese art from Neolithic times to the modern (20th-21st centuries). The course generally follows a chronological trajectory but with a thematic matrix. The first part of the course, from Neolithic to Han (ca. 5000 BC - AD 220) concerns the formation of culture and civilization and covers early pottery and bronze traditions as well as the beginnings of pictorial art. Objects and pictures are placed into their historical, philosophical, and social contexts. The second part of the course focuses on the importation and development of Buddhist art, from ca. AD 200 - 1000. The third part of the course interweaves the painting, calligraphy, and ceramic traditions of imperial China, from the Song dynasty to the near contemporary. Garden design and imperial architecture are also introduced. One of the aspects of the course that will be emphasized is regional diversity and intercultural encounters (India and Central Asia in particular). The title, History of Art in China, as opposed to something like The Arts of China, is intended to convey awareness of the fact art is a conceptual and subjective term and that objects have histories that extend beyond national borders.
GE: AREA F, WORLD CULTURES, WRITING
6L Playful Spaces: A Cultural History of Games White
105Q Art and War Badamo
We often think about art as a bridge between cultures and look to masterpieces like the Sistine Chapel as the height of a nation's cultural achievements. But during times of war, art can become military targets and destroyed, or used to create enemies. Conversely, art has been employed to resist political establishments, critique violence, and provide therapy for veterans. Drawing examples from different time periods, this course investigates the myriad ways art has been used - and abused - during military conflict.
107A Painting in the 15th-Century Netherlands Meadow
119F Art of the Post-War Period, 1945 - 1968 Monahan
Recommended Preparation: ARTHI 119E
An examination of major artistic developments in Europe and the United States after the Second World War. Includes such movements as Abstract Expressionism, Neo-Dada, and Pop Art. Explores such artistic practices as performance art, feminist art, and conceptual art.
121D African American Art and the African Legacy Ogbechie
This course examines the intersection of art, race, and identity in African-American arts and visual culture. It investigates the impact of an African legacy on African American identity, the role of race in the constitution of art narratives, the politics of representation in art, the constitution of social and cultural space, and notions of Diaspora identities in African-American art. It also analyzes key artists and discusses issues of gender and social class. Genres to be covered include Painting, Sculpture, Folk art, Film, Photography, Installation art, and Performance.
GE: AREA F, ETHNICITY
132I Art of Empire Khoury
Studies the visual culture of different empires, alone or in a comparative fashion. For example, Ottoman and Hapsburg; Ottoman, Safavid, and Mughal; Mughal and British India; or the earlier empire of the Fatimids, Abbasids, and Umayyads of Syria and Spain.
136C Architecture of the United States White
History of architecture and urban planning: buildings and builders, patrons and occupants, but especially the historical forces and events that transformed the landscape. Course subjects include art, design, technology, economics, politics, and social forces.
138B Contemporary Photography TBA
138C Social Documentary Photography TBA
141A Museum Practices and Techniques TBA
Prerequisite: not open to freshmen; consent of instructor.
Not open for credit to students who have completed ARTHI 164C.
141D Birth of the Modern Museum Paul
Course examines the emergence and development of museums of art in eighteenth-century Europe, tracing their origins to the private collections from which they evolved and studying the practices, such as tourism, that stimulated their growth.
186A/293D Seminar in Research Methods TBA
A focus on methodological approaches and tools. Topics will vary. Requires weekly readings and discussion, and the writing of a research seminar paper.
186RS/282A Seminar in Chinese Art Sturman
Advanced studies in Chinese art. Topics vary. Requires weekly readings and discussion, and the writing of a research seminar paper.
186SS Seminar in Architectural History & Urbanism Chattopadhyay
Advanced studies in architectural history. Topics will vary. This course requires weekly readings and discussion, and the writing of a research seminar paper.
187Z Museum Studies Seminar TBA
Prerequisite: upper-division standing; History of Art & Architecture majors only.
Open only to History of Art & Architecture majors during Pass 1. May be repeated for credit to a maximum of 12 units.
Examines a range of historical, theoretical, and practical issues with which the field of Museum Studies is engaged. Topics and format will vary.
253D Topics in Medieval Architecture & Sculpture Badamo
Special research in Romanesque and/or Gothic architecture and sculpture.
282A/186RS Topics on East Asian Art Sturman
Research on select problems on the arts of China, Japan, or Korea.
293D/186A Topics in Research Methods TBA
A focus on methodological approaches and tools employed in digital humanities.


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Remade but never duplicated, this darkly humorous morality tale represents John Huston at his finest.
The Treasure of the Sierra Madre Ratings & Reviews Explanation
The Treasure of the Sierra Madre Photos
John Huston's 1948 treasure-hunt classic begins as drifter Fred C. Dobbs (Humphrey Bogart), down and out in Tampico, Mexico, impulsively spends his last bit of dough on a lottery ticket. Later on, Dobbs and fellow indigent Curtin (Tim Holt) seek shelter in a cheap flophouse and meet Howard (Walter Huston), a toothless, garrulous old coot who regales them with stories about prospecting for gold. Forcibly collecting their pay from their shifty boss, Dobbs and Curtin combine this money with Dobbs's unexpected windfall from a lottery ticket and, together with Howard, buy the tools for a prospecting expedition. Dobbs has pledged that anything they dig up will be split three ways, but Howard, who's heard that song before, doesn't quite swallow this. As the gold is mined and measured, Dobbs grows increasingly paranoid and distrustful, and the men gradually turn against each other on the way toward a bitterly ironic conclusion. The Treasure of the Sierra Madre is a superior morality play and one of the best movie treatments of the corrosiveness of greed. Huston keeps a typically light and entertaining touch despite the strong theme, for which he won Oscars for both Director and Screenplay, as well as a supporting award for his father Walter, making Walter, John, and Anjelica Huston the only three generations of one family all to win Oscars. ~ Hal Erickson, Rovi
Action & Adventure, Classics, Drama, Western
as Fred C. Dobbs
as Curtin
as Howard
Alfonso Bedoya
as Gold Hat
Bruce Bennett
as Cody
Barton MacLane
as McCormick
Arturo Soto Rangel
as Presidente
Manuel Donde
as El Jefe
José Torvay
as Pablo
Margarito Luna
as Pancho
Jacqueline Dalya
as Flashy Girl
as Mexican Boy
Spencer Chan
as Proprietor
Julian Rivero
as Barber
as White Suit
Harry J. Vejar
Pat Flaherty
as Customer
Clifton Young
as Flophouse Man
Ralph Dunn
Jack Holt
Guillermo Calleo
as Mexican Storekeeper
Ildefonso Vega
as Indian
Francisco Islas
Alberto Valdespino
Mario Abraham Mancilla
as Youth
Ann Sheridan
as Streetwalker
Martin Garralaga
as Railroad Conductor
Ignacio Villabajo
as Mexican Bandit
Roberto Canedo
as Mexican Lieutenant
Ernesto Escoto
News & Interviews for The Treasure of the Sierra Madre
AFI Announces Top 100 Movies of All Time … Again
The Weekly Ketchup: "Ghostbusters 3" Close To Fruition, Direct-To-Video Sequels Galore, "Ghost Rider" Screening Or Not Screening. Who Knows?
Critic Reviews for The Treasure of the Sierra Madre
All Critics (46) | Top Critics (5) | DVD (6)
John Huston has rarely been in better form than in this 1948 study of gold fever and worse obsessions among an unlikely trio of prospectors...
Don Druker
There's a quite enjoyable yarn buried under the hollow laughter.
Stephen Garrett
The movie has never really been about gold but about character, and Bogart fearlessly makes Fred C. Dobbs into a pathetic, frightened, selfish man -- so sick we would be tempted to pity him, if he were not so undeserving of pity.
Greed, a despicable passion out of which other base ferments may spawn, is seldom treated in the movies with the frank and ironic contempt that is vividly manifested toward it in Treasure of Sierra Madre.
Bosley Crowther
The characters here are probed and thoroughly penetrated, not through psychoanalysis but through a crucible of human conflict, action, gesture and expressive facial tones.
Feb 13, 2001 | Full Review…
Herb Schoenfeld
John Huston directed and wrote a true masterpiece.
Apr 16, 2019 | Rating: A+ | Full Review…
Rachel Wagner
rachelsreviews.net
Treasure of Sierra Madre is a film which successfully restores one's flagging faith in the cinema industry.
Jun 12, 2018 | Full Review…
Virginia Graham
Classic '40s tale of greed, betrayal, and murder.
Barbara Shulgasser
Bogart is phenomenal as Fred C. Dobbs, a decent guy destroyed by his lust for gold, and the film itself is one of the immortals of cinema.
Apr 18, 2014 | Rating: 4/4 | Full Review…
an unconventional western and a serious drama
Kevin Carr
This is one of the most visually alive and beautiful movies I have ever seen; there is a wonderful flow of fresh air, light, vigor, and liberty through every shot.
A finely-crafted western-style character drama where greed and paranoia drive desperate men over the edge.
Jun 9, 2011 | Rating: 3.5/4 | Full Review…
Wesley Lovell
Cinema Sight
Audience Reviews for The Treasure of the Sierra Madre
Humphrey Bogart, Walter Huston, and Tim Holt are three guys who are down on their luck and turn to prospecting for gold in a rugged part of Mexico known for its bandits. You can practically feel the heat and sweat through the screen, and Bogart's face is covered in grime for most of the movie. He turns in a brilliant performance, and it's right from the beginning, when he splashes water in a kid's face for harassing him about buying a lottery ticket. Walter Huston, directed by his son John, is fantastic as well, as the experienced old man who can scale hills like a goat, and who knows human nature after having seen men around gold over his lifetime. Bogart and Holt's characters seem so reasonable, but his words at the beginning are an omen. The way John Huston tells the story, though, is far from simple. Bogart's evolution through the film is intense and yet nuanced. It could easily have become a caricature, but didn't. I had a few small criticisms, though they didn't stop me from enjoying the film. It seemed to me that the gunfight scenes fell into old clichés, and the music was too intrusive at times. Also, the scene of the white man reviving the native boy, much to a crowd's appreciation as if he were a savior, seems like an overdone Caucasian fantasy to me. On the other hand, the tight shots on the natives, as well as the frequent use of untranslated Spanish throughout the film, were fantastic. I also loved how it was shot on location in Mexico, as that really translated in the cinematic experience. The dialogue throughout the film is great, and it's of course famous for its line from the leader of the bandits (Alfonso Bedoya), who says "Badges? We ain't got no badges. We don't need no badges! I don't have to show you any stinkin' badges!" I really enjoyed some rather stark events that were rather shocking, but what really made the film for me was its commentary on humanity. We see the inevitability of fighting over wealth play out in several ways. We see greed become so strong that paranoia grows like a cancer in the soul. And we see the enlightened reaction to it all, borne from having become wise with age, and that is, to understand your fellow man and laugh at life's misfortunes.
Antonius B Super Reviewer
The Treasure of the Sierra Madre is a brilliant film for many reasons. It's a beautifully looking film shot on location in Mexico, a true testament to the greatness that was Humphrey Bogart, and most of all, it's an unsettling tale of what greed can do to your soul. Out of all the characters in the movie, there are only a few that appear to have good intentions. But even those people, are fueled by greed or rage at some point or another. All of them go through fascinating journeys of either self-discovery or self-betrayal. Although it's a film that takes its time with its characters and story, there isn't a moment where I felt the film's pace needed to be picked up. That was just simply the way films were told back in the 40's. You're always in it for the long haul with these characters, even when there doesn't seem to be much left to the main character's souls. If I had to go through Bogart's career of award worthy performances (surprisingly, he was only nominated 3 times), his turn as Dobbs may be my favorite performance of his, and yes that includes The African Queen. There's something to be said about him moving away from his usual gloomy and somber characters to one that completely jumps off the rails. But it fits in with the increasingly unhinged tone of the film, so Bogart would get my vote. He, along with John Huston's directing are why this is one of the most interesting pieces of cinema from the 40's. It's one of the rare films with mostly unlikable characters that actually works. That deserves some props. 8.5/10
Thomas D Super Reviewer
Walter Huston steals the scene and deserved the Oscar he won, but Bogart was unfairly not even nominated for his phenomenal performance in this classic that is all at once a light adventure, a riveting character study and a powerful morality tale about greed and paranoia.
Carlos M Super Reviewer
Another Bogart classic as he tries to outwit fellow desperate fellows in a bid to find treasure in Mexico. It is a classic tale of green and broken friendships but told in a very delightful way.
John B Super Reviewer
The Treasure of the Sierra Madre Quotes
Gold Hat: Badges? We ain't got no badges! We don't need no badges! I don't have to show you any stinking badges!
Howard: Water's precious. Sometimes may be more precious than gold.
Curtin: Remember what you said back in Tampico about having to carry that old man out on our backs?
Fred C. Dobbs: That is when I took him for an ordinary human being, not part goat.
Howard: Ah, as long as there's no find, the noble brotherhood will last but when the piles of gold begin to grow. . .that's when the trouble starts.

redpajama_set_name: RedPajamaCommonCrawl


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Kat Graham attended the star-studded 2016 GLAAD Media Awards held at the Beverly Hilton Hotel in Los Angeles on Saturday….


At 100 years old Sir Durward Knowles is today the oldest living Olympic Gold Medalist, having won The Gold Medal in Tokyo in 1964 for placing first in Star Class sailing. Sir Durward's birthday was November 2nd, 2017 and on Friday evening, November 10th, Sir Durward celebrated his 100th birthday with many friends and family.
L - R: Sir Orville Turnquest, Lady Holly Knowles and Sir Durward Knowles.
Sir Durward and Lady Holly.
Sir Durward and Fred Munnings, MC for the event.
Happy 100th Birthday Sir Durward.
Family and friends celebrate with Sir Durward.


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Q: How can I put 2 ByteArrayOutputStreams into a zip file for download? I was trying to generate 2 PDF data and put it inside a ZIP file for download (through response.getOutputStream) but I don't have idea how to do it properly:
public void export() {
    String fileName = "B2B_Price_List.zip";
    String fileNameUSD = "B2B_Price_List_USD.pdf";
    String fileNameEU = "B2B_Price_List_EU.pdf";

    String contentTypePDF = "application/pdf";
    String[] headerPDF = new String[2];
    headerPDF[0] = "Content-disposition";
    headerPDF[1] = "attachment; filename=\"" +  fileNameUSD + "\"";
    headerPDF[2] = "attachment; filename=\"" +  fileNameEU + "\"";

    String contentTypeZIP = "application/zip";
    String[] headerZIP = new String[1];
    headerZIP[0] = "Content-disposition";
    headerZIP[1] = "attachment; filename=\"" +  fileName + "\"";

    ByteArrayOutputStream outUSD = new ByteArrayOutputStream();
    outUSD = CSVHandler.downloadPriceListPDF(outUSD, fileNameUSD, ListToPDFMap(productsUSD), true);

    ByteArrayOutputStream outEU = new ByteArrayOutputStream();
    outEU = CSVHandler.downloadPriceListPDF(outEU, fileNameEU, ListToPDFMap(productsEU), false);
    // ZIP CODING GOES HERE
}

This function returns ByteArrayOutputStream to be used later:
public static ByteArrayOutputStream downloadPriceListPDF
    (ByteArrayOutputStream output, final String filename,
     Map<String, Map<String, List<B2BProductData>>> datas,
     boolean amerCustomer) {
    try {
        PdfDocument pdfDoc = null;
        try {
            pdfDoc = new PdfDocument(new PdfWriter(output));

            PageSize pageSize = new PageSize(PageSize.A4);
            Document doc = new Document(pdfDoc, pageSize, false);
            PdfCanvas canvas = new PdfCanvas(pdfDoc.addNewPage());

            String coverImage = COVER_IMAGE;
            if(!amerCustomer) {
                coverImage = COVER_IMAGE_1;
            }

            canvas.addImage(ImageDataFactory.create(CSVHandler.class.getClassLoader().getResource(coverImage).getPath()), pageSize, false);

            // loop thru category
            int pageNo = 2;
            Map<String, List<B2BProductData>> inputDatas = new LinkedHashMap<>();
            for(String category : datas.keySet()) {
                Map<String, List<B2BProductData>> prods = datas.get(category);

                while(true) {
                    inputDatas = new LinkedHashMap<>();
                    Map<String, List<B2BProductData>> remaindatas = filterDatas(inputDatas, prods);

                    if(inputDatas.size() > 0) {
                        createPDFPage(pdfDoc, doc, category, inputDatas, pageNo ++, amerCustomer);
                    }

                    if(remaindatas.size() > 0) {
                        prods =  remaindatas;
                    } else {
                        break;
                    }
                }
            }

            doc.close();

            return output;
        } catch (IOException e) {
            LOG.error(e.getMessage());
            return output;
        }
    }
    catch (final Exception ex) {
        LOG.error("Export Products got error: " + ex.getMessage());
        return output;
    }
}

A: I made it like this:
Declared the Filenames to be used later.
                String fileName = "B2B_Price_List.zip";
                String fileNameUSD = "B2B_Price_List_USD.pdf";
                String fileNameEU = "B2B_Price_List_EU.pdf";

Declare a new ByteArrawOutputStream class and initialize with "new".
                ByteArrayOutputStream outUSD = new ByteArrayOutputStream();
                ByteArrayOutputStream outEU = new ByteArrayOutputStream();

After generating a PDF file, return the value ByteArrayOutputStream and assign to the ByteArrayStream declared earlier.
                if (hasUSD) outUSD = CSVHandler.generatePriceListPDF(outUSD, ListToPDFMap(productsUSD), true, true);
                if (hasEU) outEU = CSVHandler.generatePriceListPDF(outEU, ListToPDFMap(productsEU), false, true);

Declare an outputstream to be used to hold response object's OutputStream.
                OutputStream responseOutputStream;

Declare the header strings to be assigned to the response object's header data. In this case the MIME type would be application/zip for zip file. The fileName (B2B_Price_List.zip) is also used to define the download's filename.
                    String contentTypeZIP = "application/zip";
                    String[] headerZIP = new String[1];
                    headerZIP[0] = "Content-disposition";
                    headerZIP[1] = "attachment; filename=\"" +  fileName + "\"";

Set the response object's headers.
                    response.setContentType(contentTypeZIP);
                    response.setHeader(headerZIP[0], headerZIP[1]);

Set the responseOutputStream to hold the response object's outputstream.
                    responseOutputStream = response.getOutputStream();

Declare a ZipOutputStream and initialize new with the response's outputstream as a parameter. The parameter will be used to write to write here the file to be downloaded later, in this case, the ZIP file.
                    ZipOutputStream zos = new ZipOutputStream(responseOutputStream);

Declare the ZipEntry objects to be put inside the ZIP file. Initialize new with the filename string as a parameter. In this case, we'll put 2 files inside the ZIP file for example.
                    ZipEntry zipEntryUSD = new ZipEntry(fileNameUSD);
                    ZipEntry zipEntryEU = new ZipEntry(fileNameEU);

Put each entries (or files) one at a time, after the putNextEntry is called for an entry, it is then assumed that the next .write called will be written to the previously put entry.
In this case we called the .write with the ByteArrayOutputStream.toByteArray() to convert to ByteArray as a parameter. Don't forget to close the entry by calling .closeEntry(), then proceed to the next file(s) with the same procedure earlier.
                    zos.putNextEntry(zipEntryUSD);
                    zos.write(outUSD.toByteArray());
                    zos.closeEntry();

                    zos.putNextEntry(zipEntryEU);
                    zos.write(outEU.toByteArray());
                    zos.closeEntry();

After writing the entries (files) you needed inside the ZIP, don't forget to close the ZipOutputStream (zos in this case).
                    zos.close();

The file will then proceed for download after you flush / close the response's output stream. You may ignore flush but to be sure, I included it anyway.
                    responseOutputStream.flush();
                    responseOutputStream.close();

END OF CODE BLOCK

CSVHandler.generatePriceListPDF
Now this is the function used to generate PDF > to > ByteArrayOutputStream. We passed the output object ByteArrayOutputStream from earlier to be re-assigned to the passed ByteArrayOutputStream object outside this function.
example:
outUSD = CSVHandler.generatePriceListPDF(outUSD, ListToPDFMap(productsUSD), true, true);
FUNCTION BLOCK START
public static ByteArrayOutputStream downloadPriceListPDF
    (ByteArrayOutputStream output, final String filename,
     Map<String, Map<String, List<B2BProductData>>> datas,
     boolean amerCustomer, boolean autoCloseByteArrayOutputStream) {
    try {
        PdfDocument pdfDoc = null;
        try {

Initialize writer as new PdfWriter with the ByteArrayOutputStream as a parameter, in this case the output object from the function parameter.
            PdfWriter writer = new PdfWriter(output);

Initialize pdfDoc as new PdfDocument with the PdfWriter object writer in this case as parameter. This instructs the pdfDoc to write directly to the ByteArrayOutputStream (output) object
            pdfDoc = new PdfDocument(writer);

Initialize PDF document parameters such as sizes and such.
            PageSize pageSize = new PageSize(PageSize.A4);
            Document doc = new Document(pdfDoc, pageSize, false);
            PdfCanvas canvas = new PdfCanvas(pdfDoc.addNewPage());

This is the part where you write your PDF, with data, images or anything up to you.
            // YOUR OWN PDF WRITE OPERATION HERE

Don't forget to close your PDF Document after you finish writing stuff.
            doc.close();

The function parameter autoCloseByteArrayOutputStream boolean I added determines if you want to close the ByteArrayOutputStream inside this function, or close it outside if you want to supplement the content outside. Your choice, but don't forget to close ByteArrayOutputStream all the time anyway.
        If (autoCloseByteArrayOutputStream) {
            output.flush();
            output.close();
        }

Return the output ByteArrayOutputStream.
            return output;
        } catch (IOException e) {

If an exception occur, it's important to return an object on all code paths. In this case we return a null value ByteArrayOutputStream in an event of error.
            LOG.error(e.getMessage());
            return output;
        }
    }
    catch (final Exception ex) {

Same here, errors return null ByteArrayOutputStream in case of error.
        LOG.error("Export Products got error: " + ex.getMessage());
        return output;
    }
}

END OF FUNCTION BLOCK

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AIR BELGIUM TOUCHES DOWN IN SOUTH AFRICA
More Than Food September 15, 2022 8 views
BelgiumCape TownExploreJohannesburgLifestylePlacesSouth AfricaTravel0 Comments8 views 0
With the launch of their new air service between Brussels, Johannesburg and Cape Town, Air Belgium offers travellers more choice and convenience – and direct access to the heart of Europe
Air Belgium's arrival in South Africa today marks the airline's first foray into Africa.
Flights aboard the airline's modern A330neo will depart Brussels every Wednesday and Sunday at 19:45 – arriving in Johannesburg at 7:15 the next day, with continuation to Cape Town. South Africans heading to Europe will be able to fly from Cape Town International (with a short stop in Johannesburg) or OR Tambo every Monday and Thursday. The flight offers 30 seats in Business Class, 21 seats in Premium Class and 235 Economy Class seats.
"It is an exciting and important chapter for Air Belgium," says CEO Niky Terzakis. "But we're equally thrilled to introduce South Africans to a new airline and an alternative route – and thereby direct access to the heart of Europe."
According to Terzakis, Air Belgium is committed to offering passengers an experience that is affordable, comfortable, hassle-free, green, and trustworthy.
"We often talk about 'Belgitude', and our motto is 'Fly Belgian Class', which is all about bringing joy back to international travel," says Terzakis. "And while our travellers value our fun and engaging approach to travel, we also deliver what really matters: a safe, seamless journey; transparent billing (no hidden fees); and a generous luggage allowance. What's more is that we offer travellers an environmentally-friendly travel option as the Airbus A330neo consumes on average 25% less fuel compared to previous generation aircraft. Lower fuel consumption also means less CO2 emitted into the atmosphere. Our aircraft offer what is best in comfort aboard: reduced noise level, mod-lighting, and state-of-the art inflight entertainment with WI-FI and internet connection throughout the flight."
Fares start at R 11,569 for an all-in return ticket between Johannesburg and Brussels and passengers are allowed 30 kg baggage allowance free.
"Of course, for South Africans the real drawcard is Brussels," says Terzakis. "Not only is it the gateway to Europe, with high-speed trains connecting the city to hubs like London, Paris, Frankfurt and Amsterdam in a couple of hours, but it is also a destination in its own right, with visitors delighting in its rich heritage, food, culture and Belgian spirit."
The twice-weekly flights are good news for business travellers as Belgium is currently South Africa's 6th largest trading partner as well as the Western Cape's 7th largest European export market. As such, Belgium is ideally positioned to capture the interest of the corporate and government sectors in South Africa.
"I welcome Air Belgium's new triangular route between Brussels, Johannesburg and Cape Town. Whether for leisure travel or business travel, this flight will undoubtedly *contribute to boosting* the country's tourism, its economy and job creation," says South African Tourism Chief Operations Officer, Nomasonto Ndlovu. She adds that international arrivals to South Africa are increasing steadily, and each new route and connection should be celebrated.
She said: "We are thrilled to welcome the Air Belgium team, and it's fitting that their first flight arrives in the middle of September, which is Tourism Month in South Africa, when we celebrate, champion, and recognise the importance of our tourism industry."
For more information, visit www.airbelgium.com
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While many of us consider a trike to be something for an older child, it can actually be a great activity for toddlers. A trike can help your daughter develop crucial skills, and our trikes can grow with your child, from being pushed right through to being able to steer, pedal and control the trike independently. Your child can learn balance and coordination, develop independence, and even have their initiative encouraged. If you're still unsure about the benefits of a girls tricycle for your child, here, we'll explore this topic further to discover how it could benefit your daughter.
The smarTfold 300 Plus is one of our popular smart trike folding models, which is designed to provide a cute way to help teach your little girl to ride. Our 7 in 1 girls tricycles are available in a beautiful pink shade, so she can coordinate with her favorite accessories. It starts out as a parent-controlled push trike to be used from the age of 10 months, transforming through a series of stages into a fully independent trike.
This will allow your little girl to explore the outdoors while developing crucial motor skills. She'll even have a handy little storage bag, so she can keep favorite toys close by. One of the most attractive features of the Smartfold 300 plus girls tricycle is that it can be folded very small. This not only makes storage more manageable, but it also makes it easy to load into the boot of your car for those family adventures or days out.
The UV protective canopy will protect her on those intense brighter days, and you can feel completely in control with the child/parent control switch, non-slip pedals, telescopic parent handle, and 3 point harness. If pink isn't your daughter's favorite color, this smart trike folding model is available in a variety of colors including red, green and blue.
The SmarTrike Smartfold 6 in 1 folding trike is ideal to grow with your child. This trike is suitable for infants age 9 months and older, adapting for each development stage of babies, toddlers, and preschoolers. Like the smarTrike 300 Plus, this girls tricycle has a no hassle assembly and folding design to make storage and transportation simple. Just a few clicks will make this trike ready for use. The smarTrike 600 features Touch Steering for easy use with shock absorbers and a generous UV canopy to ensure your little girl enjoys a comfortable ride. The smarTfold 600 is available in a bold red or a sleek grey to suit your little girl's preferences.
The Joy 4 in 1 Multicolor trike is part of the smarTrike 4 in 1 series. This girls tricycle is ideal for your child between the age of 10 months and 3 years old to take her through the four stages of development. This crucial stage will allow your little one to develop key skills to gain confidence. This model features a large swivel front wheel and SmarTrike patented Touch Steering make it easy to use around town. The parent handle allows you to remain in control, as your little girl develops motor skills and the hand-eye coordination needed to ride under the security of your guidance.
At each stage of development, this girls tricycle can be adapted to allow her to gain more confidence until she is ready to pedal and steer independently. While our 4 in 1 girls tricycles are available in a variety of colors, the Joy model is one of the most delightful in a bright and cheery color combination. The canopy, padded seat, restraint, frame, and accessories are in red, green, and yellow to ensure that this trike puts a smile on your little girl's face every time you head out for a family day out.
Like the Joy girl's tricycle, the Boutique 4 in 1 features fantastic features to keep your little one comfortable while they develop those crucial motor skills. The Boutique 4 in 1 smarTrike red and black design looks chic for the girl out on the town. With a matching storage bag, parent pack coordinated with the red handlebars, seat, pedals, and wheels, your little girl is sure to enjoy taking her new trike out and about.
There is even a cup holder on the handlebars, so she can keep a sippy cup handy for when she feels thirsty after riding for the day. The Boutique 4 in 1 girl tricycle is available in the red and black we discussed above, or an equally attractive blue and black. However, there is a rainbow of other colors available in the 4 in 1 trike product line to appeal to your little one's personality and flair.
Before you buy a trike, it is important to understand the developmental stages involved in our models. This will help you to determine which model is best suited to your little girl. Some of our trike models are suitable from the age of 6 months, but many of our girls tricycle options are suitable for ages 10 months and up. Here we'll discuss the development stages, so you can make an informed purchase decision.
While many of us consider a toddler girls tricycle more suited to a toddler, this type of trike can actually be an excellent tool for younger children. Children's bodies experience rapid growth and development in their early infancy. Children as young as 6 months can learn to coordinate their body and feel more engaged in their surroundings in a trike. Our smarTfold 700 girls tricycle can be used from the age of six months, with a reclining seat that can be used for nap time or turned to face backward or forwards.
There is also storage and a UV canopy, so you can enjoy a full day out with your little girl. Most of our other girl trike models are suitable for children from 9 or 10 months. At this stage, your little girl can become more comfortable sitting up, with a safety bar to help them to feel comfortable and secure. This means that a girls tricycle can help your daughter's development even in this early stage while allowing you to enjoy those family days out.
From the age of one, children are often torn between doubt and developing independence. While most children at this stage are keen to do things on their own, they are often doubtful that they can. Your little girl may feel eager to perform some easy tasks and want to know how things work, and this is where a tricycle for 1 year old baby girl can assist her development. The need to perform tasks and learn how things work can be satisfied by a girls tricycle that will provide her with the freedom she wants.
As she develops more confidence, she will feel proud that she can move forward and feel encouraged for her efforts, but you can easily switch across to parental control if necessary. This also provides you with the assurance that you can take control when needed. So, if she starts to tire or you enter a busier area of the park, there is no need to struggle to help her to navigate.
By the age of 2, most children have a natural enthusiasm to take the initiative and do things on their own. At this stage of development, a girls tricycle is the perfect toy to encourage your little girl to do so. A tricycle for 2 year old provides the ability to pedal and steer independently, with the reassurance of a parent handle, so you can take control if necessary. At this stage, your little girl will gain more confidence as she learns to pedal and steer, getting ready for greater independence.
At this stage, your little girl is likely to be ready for independent riding. You can convert any of our girls tricycle models into a standard tricycle for 3 year old. This involves removing the parent handle and safety bar so that your little girl can happily pedal away to her heart's content. She can even carry around her favorite toys in the storage bag or bin so that she can feel truly independent, even if she remains within easy reach.
At this stage, you'll need to reinforce the safety rules about riding, even if your little girl is only riding on the driveway. She needs to be aware of road safety and watching out for danger, so you can prepare her for upgrading to a regular pedal bike as soon as she's ready.
While we have some fantastic girls tricycle models, you can be sure that our trikes are not just for girls. We have some fantastic boys tricycle options with all the features we've discussed above. Both boys and girls will go through similar development stages, so you can be sure that our trikes will help your little one to develop those essential requirements of motor skills, confidence and independence to progress to a regular bicycle.
We've only touched on the fantastic range of models available in the smarTrike product line. We have models in a rainbow of colors to suit the wants of any boy or girl. From pinks and reds to blues and greens. Our trikes are available in a number of colors, so you can find the perfect one for your girl or boy.


Way back in the day of clubbing, binge eating crap and doing minimal exercise health and fitness was not on my radar. Over the years my mindset has evolved and I am now in a really good place with consistently working out and eating the right foods for my body.
So how did I start working out at home? The first real workout I undertook was Jillian Michaels 30 Day Shred. I'd dabbled with Hannah Waterman, Clair Nazir and other pointless celebrity "workout" dvds, going to body balance and a few spin classes. But it was Jillian Michaels that really kick started my passion for at home workouts. I had some really light handweights, a pair of trainers and a youtube video to get me going.
If you are unfamiliar with the 30 Day Shred, it is a series of workouts, 3 levels, 3 circuits in each level (Strength, Cardio & Abs) that you do continuously for 30 days. Does it work – yes!
I started the Shred just before I got pregnant the first time, it felt good to be active and I carried on doing moderate exercise throughout my pregnancy. As you know I had an emergency C-Section with Amelie so was unable to workout for 6 weeks. I started off lightly, doing the Shred a few times a week. How did I manage to fit in a workout during the newborn days? I just did, I wanted to exercise and change my lifestyle so I made time. Granted I was shattered a lot of the time but when I had the energy to bash out a workout I did, it made me feel really positive mentally and during those dark new mum days I found it a real mood lifter.
I remember Amelie being in her bouncy chair next to me, she then progressed to crawling around the floor so I put her in a kind of jumperoo thing that had lots of lights and activities to keep her occupied. There were days when all she wanted to do was be beside me so I worked out with a small child climbing all over me. I continued to do the Shred until I found out I was pregnant with Charlie, by this time I was getting quite fit and dropped lots of weight. Again, I worked out continuously until Charlie came along (another C-Section) although recovery from a second operation was more difficult.
When the time was right I started working out again. This time I had heard of a brilliant Bikini Body series by Kayla Itsines, this workout was intense but I was progressing to the next fitness level. Trying to fit a work out in with two small children proved a struggle some days but I enjoyed exercise so much I just plonked the kiddies in front of me, gave them a bag of Ella's Kitchen Puffits and got on with it. I did do a ton of walking with the double buggy, getting out in the fresh air during all seasons was so good for my mental health.
Start off slow – don't rush into booking a gym membership. Start off your exercise journey by walking with the buggy every day, getting out into the fresh (sometimes freezing) air is fantastic for you and also gets you out and about with the baby.
Invest in handweights – start light and work your way up. I would absolutely recommend buying a kettlebell either a 4kg or 6kg to get you going. However, there are so many brilliant workout routines including the 30 Day Shred that require no weights.
Do your research – Instagram and Youtube are fantastic pools of information for finding the right work out for you, no matter what level you are at.
Don't punish yourself – if you can't manage a workout every day or when you scheduled one in because life gets in the way – it does not matter!! Family and being a mum comes before anything so don't feel guilty or deflated if you haven't worked out, there is always another day.
Be proud of yourself – you are doing something positive!
I still struggle some days to find the motivation to work out but I love it so much. It has just become part of my daily routine and I love the way it makes me feel. The way I see it is , the workouts are 20 – 30 minutes in duration, I can either faff about doing nothing and sit on my bum for that short amount of time or I can smash out a workout and feel brilliant for the rest of the day knowing I gave it my all and tried.


Pokemon. . HD Wallpaper and background images in the Video Games club tagged: photo pokemon.
This Video Games fan art might contain اچھے کپڑے پہنے شخص, سوٹ, پتلون سوٹ, pantsuit, اچھی طرح کپڑے پہنے ہوئے شخص, and پنٹساٹ.


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HomeHOLLYWOODNewsKevin Spacey denies sexual assault allegations levied against him by Anthony Rapp
Kevin Spacey denies sexual assault allegations levied against him by Anthony Rapp
on November 23, 2020 10:18:33 PM
Disgraced Hollywood star Kevin Spacey has denied sexually assaulting actor Anthony Rapp when he was underage. Rapp claimed in 2017 that Spacey made unwanted sexual advances towards him after inviting him to a party when he was just 14. In new court documents, Spacey has insisted that Rapp was not even present at the particular party, reports femalefirst.co.uk.
In a response to verified complaint, Spacey's lawyer wrote, "Defendant admits he was in the audience for a production of Precious Sons in approximately the late 1980s in which Plaintiff Rapp was a cast member. Defendant admits he briefly met Plaintiff Rapp on a few occasions at most, but Defendant's interactions with him were peripheral and limited... Defendant denies he invited Plaintiff Rapp to any party at his home... Defendant denies Plaintiff Rapp attended any alleged party at Defendant's home... Defendant denies that the alleged incident or any other wrongdoing alleged by Plaintiff Rapp occurred," added the lawyer.
RECOMMENDED READ: Kevin Spacey equates losing job over sexual assault allegations with Coronavirus layoffs
Spacey also denied similar claims made by another individual, identified as C.D, who alleged he was raped at the age of 14 when he visited Spacey's home after they met at an acting class. Spacey, 61, asserted that he wants C.D.'s anonymity to be removed. According to OK! magazine, his lawyer wrote: "(Spacey) objects to Plaintiff C.D.'s use of a pseudonym and failure to disclose his identity, even to (Spacey). Despite this improper withholding of his identity, and (Spacey's) resulting inability to fully investigate and address the allegations, (Spacey) nonetheless makes a good faith attempt to answer the allegations in the Complaint."
"By providing this Answer, (Spacey) in no way suggests he has not been, and does not continue to be, prejudiced by Plaintiff C.D.'s anonymity. (Spacey) reserves the right to amend this Answer as deemed necessary or appropriate, including once Plaintiff C.D.'s identity is disclosed," his lawyer stated. Spacey was accused of assault by several men in 2017, and was dropped from the House Of Cards show after allegations surfaced. He has mostly kept a low profile since the slew of sexual assault claims emerged, always having denied the claims. He was also removed from the completed film All The Money In The World, which was re-shot with actor Christopher Plummer in his role.
Kevin Spacey sexual assault
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metadata.fyp.dc.description.abstract: Nowadays, Malaysia has facing a big problem of garbage. Lot of garbage could be seen on the shore road or other place. It seems like there is no difference between us and garbage. Some people are deeply concerned about the fresh environment but most of them just ignore the environment condition like there are nothing for them to worry about. Human will go through life cycle processes where from baby they will grows into children and then becoming a teenagers who are later becoming an adults and at the end, everyone will get old. This life cycle will keep on going from day to day. Therefore, peoples need a clean and healthier environment around them. Every day, Malaysian produces about 19, 000 tons of waste. This data have been recorded on 2005 and it still increased until now. It will continue to be worrying if it still could not be prevented. Mini garbage incinerator is a product that wills helps in order to accomplish the objective of this project. The main objective of this project is to design a mini garbage incinerator that can reduce the waste problem besides able to supply electricity to house and reduce the impact of environmental pollution from waste disposal site. The size of this product would not able to supply electricity to the whole house, only a few bulbs can be used the power of electricity such an emergency lamp or outside lamp because of the limitation of the power transmission.


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American singer-songwriter Taylor Swift has appeared in 60 music videos, and released five documentaries, three video albums, and a short film, as well as featured in numerous films and television shows. From her eponymous debut studio album (2006), she released music videos for the singles "Tim McGraw", "Teardrops on My Guitar", "Our Song", and "Picture to Burn", all directed by Trey Fanjoy and released from 2006 to 2008. She followed with three other music videos in 2008—"Beautiful Eyes" from her extended play of the same name, "Change" from the AT&T Team USA Soundtrack and "Love Story" from her second studio album Fearless (2008). The latter was nominated for two awards at the 2009 CMT Music Awards—Video of the Year and Female Video of the Year. For the video of "You Belong with Me" she won Best Female Video at the 2009 MTV Video Music Awards.

Swift's third studio album Speak Now (2010) spawned the single "Mine", whose music video was directed by herself and Roman White, who previously directed two of her videos. It was followed by videos for "Back to December" and "Mean" in 2010, and "The Story of Us", "Sparks Fly" and "Ours" in 2011. The fourth studio album Red (2012) was preceded by the music video for the single "We Are Never Ever Getting Back Together". The "I Knew You Were Trouble" video won Swift a second MTV Video Music Award for Best Female Video in 2013. Swift further released six music videos in 2013—five from Red; "22", "Everything Has Changed" featuring Ed Sheeran, "Red", "Begin Again" and "The Last Time", and the Tim McGraw collaboration "Highway Don't Care".

Her fifth album 1989 (2014) produced the 2014 music videos for "Shake It Off" and "Blank Space", with the latter becoming the fastest video to reach one billion views on Vevo, "Style", "Bad Blood" and "Wildest Dreams" in 2015, and "Out of the Woods" and "New Romantics" in 2016. The videos for "Blank Space" and "Bad Blood", featuring rapper Kendrick Lamar, won four accolades at the 2015 MTV Video Music Awards, with the latter winning for Video of the Year and Best Collaboration. It also received a Grammy Award for Best Music Video. Swift released four music videos for her sixth studio album Reputation (2017)—"Look What You Made Me Do", "...Ready for It?", "End Game" featuring Sheeran and rapper Future, and "Delicate". Her seventh studio album, Lover (2019), was supported by four music videos as well—"Me!" featuring Brendon Urie of Panic! at the Disco, "You Need to Calm Down", "Lover", and the self-directed "The Man" in her solo directorial debut. The Lover videos won four accolades at the 2019 MTV Video Music Awards, including Video of the Year and Video for Good and Best Visual Effects. She also began writing and directing her own music videos, such as for "Cardigan" and "Willow" in 2020, and "Anti-Hero" and "Bejeweled" in 2022. Swift debuted as a filmmaker with All Too Well: The Short Film (2021), writing and directing it.

Swift has released the live/video albums Taylor Swift and Def Leppard (2009), Speak Now World Tour – Live (2011), and Journey to Fearless (2011), and the documentary films/specials The 1989 World Tour Live (2015), Reputation Stadium Tour (2018), Miss Americana (2020), City of Lover (2020) and Folklore: The Long Pond Studio Sessions (2020). She has appeared in the television shows CSI: Crime Scene Investigation in 2009, Saturday Night Live in 2009 and New Girl in 2013. In film, she has starred in Valentine's Day (2010), and provided her voice in the animated film The Lorax (2012). She has also appeared in a number of commercials, including for Band Hero (2009), Coca-Cola (2014) and Apple Music (2016).

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Posts Tagged 'Armalyte Industries albums 2019'
Chris Connelly Interview
Posted: 4th December 2018 by blaue-rosen in Live reviews,Interviews
Tags: Armalyte Industries albums 2019, Chris Connelly Bloodhounds, Chris Connelly interview, Chris Connelly new album 2019, music interview
"…there is never a destination, destinations are boring!"
Chris Connelly, the man with a thousand (and more) musical faces, released his latest album entitled 'Bloodhounds' through Armalyte Industries. As has always been the case with Chris Connelly's work, the songs are much more than great music with great melodies and a beautiful performance. They give an attractive, soul/blues/rock form, to many sources of inspiration, ranging from paintings to books and landscapes. Inspiration is a malleable concept and it can mean different things to different people. It is evident, if one takes a deep look into the details of the albums (artwork, music, song titles) that Chris has created that, what motivates him is a great personal and spiritual 'calling' that transforms even every day experiences into dreamy, poetic and disquieting melodies. Whether you love more his industrial/dark side as has been revealed through his work with Cocksure and Revolting Cocks or his more lyrical Sylvian/Bowie inspired side more evident in his solo work, you must admit that, since the 90s Chris has created an artistically rich sonic universe.There have always been visual artists who were inspired by music but rarely have we encountered musicians being inspired by visual art. To us, translating a static image and its emotional impact into sound, is one of the most challenging tasks an artist can undertake. And yet, here we are, with an album and a musician that does exactly that.
We were delighted to be given a glimpse into the artistic mind of Chris Connelly and talk with him about the new album, his future plans, his previous work, Cocksure,Ministry, Revolting Cocks and anything in between. We would like to shout out to promoters in London in particular, to arrange for us to enjoy him perform live next year.


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In fact, heart disease is the No. 1 killer of women in the United States, causing one of every three deaths each year, an average of nearly one woman per minute.
American Heart Association CEO Nancy Brown, and her guest — Judith Salerno, M.D., M.S. and the chief executive officer of Susan G. Komen — discuss disease prevention for women in the latest Huffington Post column.
For more in this series of heart-health columns on the Huffington Post, visit Nancy Brown columns.


> However, not all of the API is complete and some programs, which use software security, will never run on it.
If you would please point me to a source on this one? Even better, could you point me to an application that's reported to not work and "will never work" due to software security?


Wine pundits are calling 2015 an "extraordinary" vintage throughout the Côte d'Or. Typical of warm and sunny years the 2015 whites are clean, pure and rich, favoring ripe orchard and soft citrus fruits over bracing minerality.
The husband and wife team of Nathalie and Sylvain Langoureau farm about 24 acres of prime vineyards in Saint-Aubin, Meursault, Puligny-Montrachet and Chassagne-Montrachet. This is a heart and soul garagiste operation based in the tiny hamlet of Gamay, nestled between Puligny-Montrachet and Saint-Aubin. Sylvain vinifies his wines with ambient yeast and small percentages of new oak. The finished wines are elegant, focused gems produced in very limited quantities.
High up on the back slope of the Côte d'Or behind the Grand Cru of Montrachet, the commune of Saint-Aubin is known for refined white wines and excellent value. Sylvain Langoureau's 2015 Saint-Aubin exemplifies the vintage and the village. A glassful leads with the heady aromatics of lemon curd pastry with suggestions of pineapple, fennel frond, and wet stone. A sip is creamy yet exquisitely balanced by a mineral streak that lasts through a finish that is touched by just the slightest hint of fresh butter. Break a bottle out next time you need to cement a friendship or just have a plate of seafood that could use a mate.
Steep slopes located between the villages of Saint-Aubin and Gamay, where the soil is nearly pure limestone.
A stone's throw from "Les Frionnes" on the same steep limestone slopes.
Single vineyard on the border of Chassagne-Montrachet and Puligny-Montrachet just below the Grand Cru of Montrachet.
Located just above the plot "Sous le Dos d'Âne." "La Pièce" designates a patch or a plot of vines, situated in this case, below the wood "Sous le Bois" of Blagny.
From vines planted in 1954 on one of the highest Premier Cru slopes in Puligny-Montrachet.
100% Pinot Noir. Although Chassagne-Montrachet is renowned for its white wines the commune produces just as much red wine. A superb value from a parcel located below the village of Chassagne-Montrachet.


Estate planning involves all assets left behind after death, from a house and everything in it to savings and investments.
No one likes to think about their own death. There's more than enough to worry about without having to stress out about that. It would be nice if we could live as if we were immortal, never having to worry about what will happen after we're gone.
But death is inevitable, and we all need to plan for it. Even if you don't have a family to care for, not making a will can cause many problems for the friends and loved ones who survive you. Making your wishes known in advance, however, will ensure that your assets go where you want them to.
Almost everyone is familiar with wills. A will, often referred to as a last will and testament, is a legal document that makes sure your wishes regarding your possessions are carried out after you die.
Power of attorney and health care proxy both allow someone you trust to make decisions on your behalf. Power of attorney gives someone the ability to manage your financial affairs, and health care proxy -- or medical power of attorney -- gives someone the power to make decisions about your medical condition if you're unable to do so.
Trusts are a way of passing on money and other assets to heirs. In many ways trusts are more hassle-free than wills. They don't have to be processed in court, and therefore, avoid many costs and delays. They also get around some of the high taxes that can be attached to an inheritance.
Read on to find out how each element of an estate plan works.


Today I'm announcing and beginning promotion of my auto library, a denotative and locally stateful programming DSL and platform, now on hackage. auto is suitable when your program involves an input or output that is a discrete stream of things — events, views, etc., like turn based games, GUI's, numerical computations…; it allows you to state (possibly cyclic) complex relationships between streams of values by composing simple, primitive ones. You can read the README too for a detailed buzz-word laden exposition with nice well-commented short demos and examples, get started with the tutorial, check out the directory of sample projects, and even see a live running todoMVC (source) example!
But enough of that…what is auto, why does it exist, and what are its design principles?
I designed auto because there really aren't any good solutions in Haskell for declaratively describing locally stateful programs in a compositional way. And a lack of denotational semantics to reason with them.
The go-to implementation for a turn-based game is to have a "giant state monad". It is a clever "hack", but really, all we've done is began programming a game with global mutable state. People have tried getting over this by using lenses and zoomers, but this processes doesn't quite scale.
Even now many games, GUI's, numerical computations, etc. are written as folds or state compositions over a giant state. Surely there is a better way?
auto provides denotational semantics for the composition and transformation of stream transformers. At a high level, it is an example of "locally stateful programming". Each component and stream transformer really operates as its own entity, separate from the world, in a composable way. Typical programs involve building a (possibly cyclic) graph of relationships between quantities over a stream.
Composing two transformers side-by-side or end-to-end creates a new transformer…and the state of each trasnformer is "closed off" from the other and the rest of the world.
sumFrom 0 denotes a relationship between x and sums such that sums is the cumulative sum of all x's seen. productFrom 1 denotes a relationship between x and prods that prods is the cumulative product of all xs seen. With sumAndProduct, we built a new relationship — the output is the sum of the cumulative sum and the cumulative product of the inputs — by composing two primitives.
Each of them maintain their own "state"…and even sumAndProduct will maintain its own internal state as you compose it with other things.
You build complex programs. For games, you might have an enemy monster, or a player character…why should a player character's update be able to access the state of the enemy monster? Why should the enemy monster be able to access the state of the player? Now, the enemy monster's state is only accessible to the enemy monster itself…nobody else can touch it.
In my opinion, this really is the only sane way to have stateful loops. Separate out your update into the composition of primitives, and describe it using denotative, pure relationships.
Using auto, your entire program is structured as a stream transformer, built from the composition of smaller primitives, and using the various combinators and semantic streams of the library.
In the end, "running" it is simply gathering the input one at a time, pushing it through, and acting on the result.
How do we build that Auto? By composing smaller, simpler ones. Each denoting their own relationship, each keeping track of their state locally. The "full GUI state" never exists anywhere…it is aggregated during composition.
By the way, auto does allow you to take "snap shots" of the actual states of Autos as they are run, as a binary…so you can serialize, freeze, and resume Autos from any previous state at-will. Free undos, free save states. And this serialization composes, so the combination of two serialized Autos with internal state will also be serialized appropriately.
Throughout its development auto has been compared to FRP libraries like netwire. A full address of this comparison is offered on the readme. The main difference is that FRP offers an expressive language for working with, manipulating, and transforming continuous-time behaviors. auto borrows some aspects of FRP as well as some practical API aspects in order to build something separate, manipulating and transforming causal (discrete) streams. There are many situations where FRP is not quite suited — it'd be like using a vector art program to describe a bitmap. There are domains where auto is not suited — that is, the semantic model doesn't allow you to say anything meaningful about continuous time behaviors.
So, I'll be using this blog to post complete walk-throughs on designing specific apps like the ones in the examples repo. Along the way hopefully some general design principles will become apparent, too. I've been working on this library and have been writing "real world" code for it for almost a year now, so I have some experience with design practices and patterns that work and don't work.
For now, you can try reading over the tutorial if you want, or peruse the examples repo!
Also, I definitely welcome any criticism on the design of the library or the semantic model, or of its use cases. I've been more or less working on this alone for almost a year, so now is the time for any delusions of mine to be vetted out in public!
For now, the official support channel is #haskell-auto on freenode (I'm jle`), but you can always use the issue tracker too, email me, or find me on twitter as mstk.
All this being said, auto is still kind of technically in a sorta pre-release state, because not all of the tests are written yet. But the API should be stable and updates before 0.3.x are going to all be backwards compatible (API-wise) bug fixes or filling in holes.


text:
module Veewee
  module Provider
    module Virtualbox
      module BoxCommand

        def build_info
          info=super
          info << { :filename => ".vbox_version",
                    :content => "#{self.vboxga_version}" }
        end

         # Transfer information provide by the provider to the box
         #
         #
         def transfer_buildinfo(options)
           super(options)
           # with windows, we just use the mounted volume
           if not (definition.winrm_user && definition.winrm_password)
             iso_image="VBoxGuestAdditions_#{self.vboxga_version}.iso"
             env.logger.info "About to transfer virtualbox guest additions iso to the box #{name} - #{ip_address} - #{ssh_options}"
             self.copy_to_box("#{File.join(env.config.veewee.iso_dir,iso_image)}",File.basename(iso_image))
           end
         end

      end
    end
  end
end

redpajama_set_name: RedPajamaGithub


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text:
Concepts, Universe
You may be looking for Null-Space.
Normal Space, usually referred to as N-Space for short, was the name given to the prime universe of Gallifrey to distinguish it from the smaller E-Space. Alternatively, it was also known as the "third universe" (AUDIO: Quinnis) or Home D, to distinguish it from other dimensions, like Shadow-Space. (AUDIO: Masquerade) Donna Noble once referred to this universe as the Doctor's World. (TV: Turn Left) Second Reality gamers referred to this universe as fleshspace. (PROSE: Another Life)
According to the Eleventh Doctor, N-Space was born alive, but it could only become aware of itself by developing sensors across its surface, known as life forms, each of which suffered a temporary delusion of separate identity during data collection - called consciousness - but in reality had little to none individual existence. (PROSE: The Day of the Doctor) However it couldn't form properly with the Solitract as it made it unable for the pieces to come together. It was only after banishing it to the Solitract plane could N-Space form properly. (TV: It Takes You Away)
Properties Edit
Entropy Edit
Because of entropy, N-Space should have ceased to exist as a result of heat death some time before the 20th century in the Humanian Era, if not for the Logopolitans. The Logopolitans used Block Transfer Computations to create the CVEs to vent entropy from N-Space into E-Space. (TV: Logopolis) Sometimes the CVEs also allowed physical objects to travel from N-Space into E-Space. (TV: Full Circle)
Co-ordinates Edit
Unlike E-Space, which used coordinates with a negative value, relative to the navigational system of the Doctor's TARDIS, N-Space used positive coordinates. The Fourth Doctor suggested, then, that N-Space was a positive universe and E-Space its negative counterpart.
The TARDIS scanner continued to show images of N-Space even after materialising on Alzarius, which had the same co-ordinates as Gallifrey, though reversed. The Doctor suggested that, rather than relaying visual information, the scanner operated off the absolute value of the co-ordinates and could not process negative coordinates. The scanner system was made functional by replacing its original N-Space image translator with one native to E-Space. (TV: Full Circle)
The Gateway, whose co-ordinates had a zero value (neither positive nor negative) served as a place of transit between N-Space and E-Space. (TV: Warriors' Gate)
Transit points Edit
Aside from the Gateway, objects could have passed from N-Space to E-Space through a CVE, as did the Doctor's TARDIS. (TV: Full Circle) The Great Vampire travelled to E-Space from N-Space by means unknown, as did the human ship, the Hydrax. The Doctor surmised that the Hydrax was intentionally brought into E-Space by the Great Vampire. (TV: State of Decay)
N-Space existed side-by-side with a reservoir of evil that was made of manifest suffering and fear. There were weak points that Dr Colin Dove termed "synapses" through which, at perihelion when the two worlds were at their closest, the evil force could come through with the help of powerful sensitives. The land that Hawthorne was built upon was one such example. (HOMEVID: The Zero Imperative)
Retrieved from "https://tardis.fandom.com/wiki/N-Space?oldid=2738822"


text:
A Self-Imploding, Crumbling Empire is an Ugly Place
By Terese Jonsson
If I had been able to vote in the referendum, I would have voted Remain. Considering the political and media preoccupation with immigration, it was clear that there was no space within mainstream debate for any more complex interpretations of a Leave vote other than as further legitimising Far Right racism as well as so-called 'genuine' concerns about immigration. The Brexit result is deeply disturbing for this reason, with a rise of racist attacks, demonstrations on the streets and the emboldening of Far Right parties in other European countries.
But in challenging the overt racism of parts of the Leave campaign, Remain became too easily positioned as the anti-racist option. Within white and middle class dominated liberal discourse a 'Remain' vote was romanticised as about tolerance, unity, and diversity in the face of hatred, as if racism is the purview of the Far Right. Individualising racism and projecting it onto deviant others conceals the fundamentally racial history and structure of this country, and of Europe. It suggests there was even the possibility of this country voting against racism, when in fact either result would have reinforced it, in different forms. The wealth of Britain and other powerful European states was built on slavery and colonialism, and any sociological analysis which does not consider the significance of this history for understanding the modern world is limited. Similarly, any construction of the EU as simply a benign force for peace in the post-WWII era erases its imperial dominance through unjust trade agreements, the millions of deaths caused by military operations by European states in the post-war period, and the daily lethal and devastating consequences of the enforcement of Fortress Europe's racialised borders.
Post-Brexit white liberal left analysis tells us that this was a 'working class revolt'. Of course the classed dimensions of the vote are significant, but so are the racialised ones, with polls suggesting that 73% of black and 67% of Asian voters voted Remain in contrast to 47% of white voters. As black and Asian people are more likely than white people to live in poverty, this suggests that the majority of working class people of colour voted Remain. Calls are being made to listen to disillusioned (implicitly white) Leave voters, yet, while the need for investment in housing, jobs, and public services can hardly be overstated, concerns about immigration must be understood in the context of Britain's colonial history, in which the political elite has always courted the white working class through narratives of imperial, white superiority. Further, on the point of listening, Akwugo Emejulu asks (reflecting on the sudden white attention to racism), "What does it mean that … people of colour were not taken at our word, as others have been, about what we experience?"
Fascist violence and ideology must be contextualised in relation to the racist structure of the state, and the whiteness which frames dominant narratives, whether in politics, media, cultural institutions or universities. This argument is of course not new, and has long been central within critical sociological scholarship on 'race', as attested by the contemporary relevance of The Empire Strikes Back's searing analysis of the connection between popular and state racism, and the "post-war forgetfulness which obscured the historical connections between England and her colonial Empire". Equally, postcolonial and decolonial movements and scholarship have long been challenging the colonial and parochial world view which sees Europe as the exceptional origin and site of civilization, culture and knowledge.
Times ahead for Britain look uncertain; a self-imploding, crumbling empire is an ugly place. Exactly who will be listened to about what to do from here will make all the difference in the world.
Terese Jonsson is Lecturer in Sociology in the School of Social, Historical and Literary Studies at the University of Portsmouth. She tweets at @missing_words.
Originally posted 2nd July 2016.
Bev Skeggs Discusses the Contemporary Sociological Imagination with Les Back
Sociology's Dual Horizons


text:
This General Saved Countless Lives – and You Probably Haven't Heard of Him
by Ed Nash | Dec 8, 2020 | Military History, Warriors | 0 comments
Today, body armour is practically a given with modern militaries. Advances in materials means the protection that soldiers have at a personal level has never been higher. Though not every soldier in the world performing his duty today may have a full armoured rig, he will normally be issued with a helmet at least.
However, though armour has an ancient history in warfare, there was a considerable period when none was issued to soldiers, except for ceremonial garb. The invention of gunpowder made armour largely pointless and armies soon discarded their cumbersome panoplies as unnecessary weight and expense.
As weapons became more effective this seemed completely logical and accepted as self-evident for about three hundred years. But sometimes someone comes along and points out something so obvious that no one else seems to have noticed it.
That pretty much sums up General Louis Auguste Adrian; the man responsible for the modern military helmet and, by extension, the reappearance of body armour for the modern infantryman.
Born in Metz in 1859, his family was forced to move away from the city when it was surrendered to Germany after France's defeat in the Franco-Prussian War of 1871. After studying engineering at the prestigious École Polytechnique in Paris, he commissioned into the French Army and worked on coastal defences and logistics in France and Madagascar.
As an officer he paid particular care to the men he was responsible for and wherever he was posted would work to improve local infrastructure and especially the housing and facilities for the soldiers. Gradually working his way up the career chain and establishing himself as a solid performer, in 1907 he was appointed to a senior position at the War Ministry with the job of rooting out corruption in the army supply chain. He was so successful at this that he was awarded the Légion d'Honneur in 1912.
In 1913 he retired from the army on health grounds, to enjoy a well-earned retirement. Except that wasn't to happen.
When World War One broke out in July 1914, Adrian requested to return to work. With his well established reputation as a supply officer his request was speedily accepted.
He soon made his mark, again showing an appreciation for the burden of the common soldier. Expecting a swift war, the French military establishment hadn't prepared for the possibility of the war dragging on into the winter of 1914, let alone the years it would actually take.
Evidently seeing the writing on the wall, Adrian swiftly moved to arrange the production and distribution of improved packs, boots and winter equipment for the French soldiers. To compensate for the lack of tents and to stop French soldiers having to sleep outside, he commissioned mass production of a new type of prefabricated building he had invented, the Baraque Adrian. These became a standard feature of the French military for decades.
But his most important contribution was in recognising how to best protect French soldiers from the greatest threat to them. Contrary to the common opinion that soldiers were killed by bullets, Adrian recognised that the greatest killer was fragments from artillery, especially to the head.
One day talking to an injured soldier, he was told the man had been saved because he had been wearing a metal soup bowl on his head. A study of the subject concluded that 77% of French casualties were caused by shrapnel to the head. Over 80% of these proved fatal.
Acting with his usual decisiveness, Adrian moved to deal with the situation. His first design was a simple steel skull cap that soldiers could wear under their kepis and field caps.
Initially told that French soldiers didn't need these items, Adrian went direct to the Commander-in-chief, General Joffre, and argued strongly for their immediate production. He won out and by spring of 1915 hundreds of thousands had been made and issued. They had an immediate effect and Adrian moved to the next logical step – making a proper helmet.
This was approved for use at the end of April 1915. Designated the M15 helmet, in fact it was – and still is – much better known as the "Adrian Helmet". An icon of the French Army, twenty million would be made by the time the war ended in 1918.
And they certainly made a difference. By 1917 head wounds to French troops only made up 22% of casualties. Mortality from these injuries had dropped to 50%. Though some of this is obviously due to better standards in medical care, the helmet definitely made a major difference in wound rates.
In fact, so obvious was the improvement that every military promptly adopted the helmet as a standard issue item for their soldiers. With the recognition that armour could make a decisive difference in saving troops, development programs began as well to produce body protection.
But with the issuing of that first proper helmet what was now firmly established in the international military mind-set was the importance of providing protection for their soldiers. From helmets to the first basic flak vest, up to the bullet proof plate carriers of today and even to the projected battle suits of the future, personal armour has become a major feature in infantry warfare.
For this we can largely thank General Louise Adrian – a man who's foresight and persistence not only saved the lives of unknown numbers of soldiers in the First Word War, but continues to do so today and into the future.
http://militarymatters.online/the-development-of-helmets-and-body-armour-in-the-first-world-war-a-history-of-what-ifs/
Ed Nash has spent years traveling around the world. Between June 2015 and July 2016 he volunteered with the Kurdish YPG in its battle against ISIS in Syria; his book on his experiences, Desert Sniper, was published in the UK by Little, Brown in September 2018.
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The results provided by the Arkansas child support calculator are estimates which are constructed around the pertinent information you provide. It does not include items such as expenditures for the repayment of debts that represents expenses for the production of income.
Please note that the use of the Arkansas child support calculator does not constitute legal advice. We do not guarantee that our results will be the same as other programs, nor accept any liability from your use of the program although rigorous testing has been completed and has given almost exact results with the same net income figures being used. To obtain more detailed information you should directly contact a qualified attorney in your geographic area.


Australia higher education has the prefect system and the world-class level, the quality of teaching and scientific research strength is famous in the world, in term of personnel training, a high degree of internationalization of Australian higher education, whether in recruit students or the implementation of cross-border education services, are distinctive.
Australia is a multi-cultural country, coupled with market-oriented, formed a witty flexible, coordinated and complementary educational model. Which is characterized by higher education, vocational education, adult education, general education between the complementary and complementary; public schools and private schools can also be integrated with each other.
Australia's higher education consists of two main components: university education and vocational education and training. Australia now has 42 universities, located in the states and regions, of which three are private universities, the rest are public universities. In addition, there are many Technical and Further Education (TAFF) providing vocational and technical training.


text:
Home > Conferences > JOE > Vol. 49 > No. 2 (2011)
Spreading the Word About Extension's Public Value
Laura Kalambokidis, University of MinnesotaFollow
In recent years, the idea that Extension can build support for its programs by highlighting how they benefit people who have no contact with the programs has taken root in the Extension system. Providing Extension program teams with resources, training, and leadership can lead to a body of public value messages that can infuse Extension's stakeholder communications. Hundreds of Extension professionals have received public value training, and survey results suggest that many trainees are following up with actions. Many trainees see positive effects from the public value approach, but measurable impacts will take more time.
Kalambokidis, L. (2011). Spreading the Word About Extension's Public Value. The Journal of Extension, 49(2), Article 1. https://tigerprints.clemson.edu/joe/vol49/iss2/1
JOE Archives
Publishing Ethics Statement
Extension Jobs
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text:
until 13 May
'On the way to...' Art by Barthel Brussee & André Potters
Hooglandse Kamer
Hooglandse Kerkgracht 58
2313 HV Leiden
The duo exhibition 'On the way to...' includes works by the Leiden painter Barthel Brussee and storytelling photographer Andre Potters from Voorschoten. In principle, their works can be viewed every Wednesday and Saturday afternoon from 12:00 to 16:00.
Barthel Brussee studied at the Art Academy in The Hague and is a versatile artist. Among other things, he likes to combine painting with cycling. For example, to Santiago de Compostella in Spain.
Along the way, Barthel makes piles of oil paint studies of what catches his eye. These impressions are worked out at home. His 'Bicycle paintings' are a breath of fresh air next to all the snapshots that are shared on the internet about being travelling. Barthel's style is characterized by its very own form of figuration.
Andre Potters is a sociotherapist at LUMC Curium and a photographer. For his series of photos 'Roads' he was inspired by the song 'Child of the Wind' by guitarist Bruce Cockburn:
"There's roads, and there's roads And they call. Can't you hear it? Roads of the earth And roads of the spirit.
The best roads of all Are the ones that aren't certain... One of those is were you'll find me. Till they drop the big curtain."
The works of Barthel and André in the Hooglandse Kamer invite you to reflect on what you see. Perhaps we will encounter something of our own along the way. For the current opening hours, see www.hooglandsekamer.nl.
Daily starting from january 28th, 2023 until may 13th, 2023 from 12:00 to 16:00


text:
import {Configure} from './configure';

export function configure(aurelia, configCallback) {
    let instance = aurelia.container.get(Configure);
    let promise = null;

    // Do we have a callback function?
    if (configCallback !== undefined && typeof(configCallback) === 'function') {
        promise = Promise.resolve(configCallback(instance));
    }

    // Don't load the config until the configCallback has completed.
    return promise
        .then(function () {
            return instance.loadConfig();
        })
        .catch(function () {
            reject(new Error('Configuration file could not be loaded'));
        });
}

export {Configure};