text:
Q: Why does VHDL function declaration not accept bounds for the return type, e.g. std_logic_vector? I know that in VHDL each function call is instantiated as a separate combinational circuit. I am writing a function that takes in a 4 bit value and returns a 7 bit value from a look up table. The declaration in the package head looks like this:
function my_function(lv: std_logic_vector(3 downto 0)) return std_logic_vector(6 downto 0);

The compiler is generating error. It seems to me that the function declaration cannot include the size of the logic vector. Why? Does the same apply to integers where the range of integer value be given?

A: This is mostly for Jonathan Drolet but there's also a lesson here.
Note that parameter argument to my_function supplies a type mark with a subtype indication.  This is valid in VHDL.
library ieee;
use ieee.std_logic_1164.all;

entity myfunc is
end entity;

architecture foo of myfunc is
    function my_function(lv: std_logic_vector(3 downto 0))
            return std_logic_vector is
    begin
    return lv & "000";
    end function;

    constant fumble:  std_logic_vector (3 downto 0) := x"E";
    signal humble:    std_logic_vector (6 downto 0);
begin
    humble <= my_function(fumble);

end architecture;

This code analyzes, elaborates and simulates.
Note that the return mark is an unconstrained subtype and the result value is assigned to a declared signal with a subtype indication (supplying an index constraint).
There are rules specifically for determining the effective value of a signal that require the bounds be checked after an implicit subtype conversion.  Providing a return value that doesn't match the bounds of humble would result in a run time error causing simulation to end without successfully completing.
In other words a constraint isn't necessary here. The return value subtype indication is derived internally, and as is shown in this from the input parameter.

A: I can't tell you why, but I can tell you that this is correct, you can't specify the size of std_logic_vector in function.
Either create a subtype of the appropriate size:
subtype my_function_input is std_logic_vector(3 downto 0);

function my_function(lv: my_function_input) return std_logic_vector;

or verify the input range when you enter the function. Something like:
function my_function(lv : std_logic_vector) return std_logic_vector is
begin
    assert lv'high = 3 and lv'low = 0
    report "Wrong input size, my_function requires 3 downto 0."
    severity failure;
    ....

Xilinx's compiler check assertions at synthesis, and stop it if the severify is failure (and probably error). I would expect other synthesizer to have the same behaviour.

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text:
How Two Dealers Turned $25,000, a Roster of Unknown Artists, and Bravado Into the Global Powerhouse Blum & Poe
By Artnet News
Published on Feb 24, 20
During Frieze Week in Los Angeles, Tim Blum and Jeff Poe reflected on impact they've had on the city's bustling art market.
Tim Blum and Jeff Poe in 2017 at 2727 S. La Cienega Blvd, the current Los Angeles flagship gallery. Photo: August Blum, courtesy of Blum & Poe.
In the early 1990s, Tim Blum met a guy named Jeff Poe working at the same Los Angeles gallery as his girlfriend. At the time, Blum was living in Tokyo, immersing himself in the Japanese contemporary art scene, and would fly back to LA when he could and stop by the Kim Light Gallery in Hollywood.
"I'd visit, and say 'hey' to Jeff at the front desk," Blum recalled earlier this month just ahead of Frieze Week, sitting across from me on a stiff-looking bench.
"We were friendly," said Poe, sitting on the same bench, but not really next to Blum. "He showed up in Christmas of '93, and he's like, 'Japan's falling apart, I'm going to move here and open a gallery.' And I'm like, 'You're out of your fucking mind, good luck.'"
Los Angeles was not a big gallery town at the time. The young Poe had managed to strike gold by partnering with Kim Light, who had gained an international reputation for hustling a new generation of LA artists. Wildly ambitious, Light was on the verge of opening a foundation, with family funds, which would give her partner Poe a seriously cushy gig.
"I was gonna rent a convertible Saab—I was on fire," Poe said. "I was like, 'Fucking finally.'"
"A convertible Saab!" Blum said, laughing.
Tim Blum and Jeff Poe in 2007 on the roof of 2754 S. La Cienega Blvd, their second space after
leaving Santa Monica in 2003. Photo courtesy of Blum & Poe.
But then it all fell apart. In February 1994, Light's grandfather pulled the money, the whole operation went kaput, and Poe was out of a job. He had no real prospects. Before working with Light, he had primarily played in LA punk bands, most recently one called Blissed Out Fatalists.
"A month later, I was watching this movie Black Rain," Poe said.
"It's a great movie about the Japanese mob with Michael Douglas," Blum added.
"And I was stoned, of course—I smoked pot all day every day at this point in my life," Poe said. "And I was like, what am I gonna do? And then I was watching, and they're in Tokyo, and I was like, 'Oh yeah, that fucking Blum—that dumbshit from Japan wanted to open a gallery. Well, he must have money!
"I moved back in August of '94 and we opened September of '94," Blum said.
Blum & Poe's Los Angeles gallery, at 2727 La Cienega Boulevard. Photo by Joshua White, courtesy Wikipedia.
And from those inauspicious beginnings, Blum and Poe started Blum & Poe, a gallery that, 25 years later, would not just be one of the biggest contemporary art meccas in Los Angeles, but the one most associated with the city's rise from an art-world backwater to a major hub in the global gallery ecosystem.
We were chatting during Frieze LA, which would be inconceivable without Blum & Poe front and center, occupying the large corner booth at the entrance of the fair, featuring gallery artists who have ties to the city. (More subtle is the Blum & Poe contribution to Felix, the annual art fair held in the Hollywood Roosevelt Hotel, where gallery artist Darren Bader staged a booth of work by artists who don't exist.) And at the massive 22,000-square-foot Culver City building where the pair opened a headquarters in 2009, they've staged one of the city's more ambitious shows: a revisiting of the landmark 1959 MoMA exhibition "New Images of Man," this time curated by Alison Gingeras, featuring artists with a long attachment to the gallery, including Henry Taylor, Mark Grotjahn, and Tomoo Gokita.
The gallery expanded to Tokyo and New York in 2014, but it has kept the operation relatively lean. Along with partner Matt Bangser, who runs the New York outpost, the operation is still over seen by Blum and Poe. They are a true duo, not quite good cop, bad cop, not quite Hollywood buddy comedy. Something in between all that. Over the years they've developed a clear rapport, but they don't finish each other's sentences. They often disagree and fall into some light bickering. They can both come off slightly surfer dude-ish—with many sentences punctuated with a casually tacked-on "fuck, man!"—and together they've nurtured the careers of some of the most exciting and famous artists on the planet.
Tim and Jeff in 1999. Photo: © Fredrik Nilson, courtesy of Blum & Poe.
'We Were Looked at Like Fucking Idiots'
The frenzy of activity during Frieze Week was a far cry from the Los Angeles art scene that existed when the two opened their first space in Santa Monica in the early 1990s, taking over a lease from a failed gallerist who was paying just $1,200 a month.
"There was no art world, per se," Poe said.
"There was a cluster of… people? There was percolation," said Blum.
The pair had $25,000 between the two of them, enough to just pay rent for a year and manage their overhead—and that's it. But there was a plan. First, the gallery would take on the artists who Poe had become close with while working with Light—as Poe recalled, the gallery had gone on a 22-month tear, picking up artists in Cologne and New York at a time when scenes in both cities were hotbeds for new artists.
Early shows were given to Anya Gallaccio, Kim Dingle, and Dani Tull, all artists who were influenced by the generation of Los Angeles artists featured in the landmark Museum of Contemporary Art exhibition "Helter Skelter," which was a sensation when it opened in 1992, the same year as Kim Light's space. In the years that followed, Blum & Poe would give shows both to local legend Paul McCarthy and to a trio of very young budding Angeleno art stars: Sharon Lockhart, Laura Owens, and Frances Stark.
Paul McCarthy's Tokyo Santa, Santa's Trees at Blum & Poe, Santa Monica, 1999. © Paul McCarthy, Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo.
The second part of the equation was to bring artists from Japan that Blum had met during his four years living in Tokyo. "There was an international thing happening" in the art world, "but there was no Asian element," Poe said.
Local critics and collectors didn't immediately react well to the new Japanese artists they started bringing over—if they reacted at all. "It was a brutal time because we were hard people, and we wouldn't put up with any shit, but we didn't have anything to back it up with but bravado," Blum said. "New York didn't give two shits about LA."
Yoshitomo Nara's Dogs from your Childhood installed at Blum & Poe, Santa Monica, 1999. Nara's first solo exhibition in the US debuted at Blum & Poe in 1995. © Yoshitomo Nara, Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo. Photo: Joshua White.
A breakthrough came in July of 1995, when they gave the first American solo show to an artist named Yoshitomo Nara, who had support in Tokyo, but at the time was completely unknown in the US. He was an artist who Blum had become passionate about while in Tokyo, drawn to his playful depictions of kids embracing their budding punk-rock sociopathy, which was all filtered through Nara's obsession with H.R. Penck and Walt Disney.
Most collectors simply did not get it.
"We had to actually educate people," Poe said. "Some curators and collectors understood, but there was an enormous amount of resistance towards us, and we were looked at like fucking idiots. I'm not kidding. We were completely dismissed by everyone. Not only our peers, but also older established New York and European galleries. It was hard. But we stuck with it."
Last year, Sotheby's sold a Nara painting for $25 million
Jeffrey Poe, Takashi Murakami, and Tim Blum at Blum & Poe in 2013 in Los Angeles. Photo by Stefanie Keenan/Getty Images for Blum & Poe.
Guffaws, Chuckles, Chortles, and Snorts
1999 was the year that "something broke," as Blum put it. At the start of the decade, he had met an artist named Takashi Murakami who was pursuing a Ph.D. at Tokyo National University of Fine Arts and Music. They stayed in touch, and after dipping his toe in the New York gallery scene (with shows at Gavin Brown's Enterprise and Feature, Inc.) Blum and Poe convinced him in 1997 to give the then-struggling LA a shot. While there was little to no attention from local tastemakers, the gallery doubled down on Murakami. When Blum & Poe scored a Statements booth at Art Basel in 1999, it decided to show the art world cognoscenti even more of the Japanese artist, who was associated with the "Superflat" movement.
Once again, the world wasn't ready.
"There were a lot of guffaws and chuckles and chortles and snorts about that whole show," Blum said.
And yet a few collectors bought work from the stand—enough to convince the two young dealers that they were doing something right. Don and Mera Rubell, the software pioneer Peter Norton, and the late management consultant David Tieger were all early supporters.
"Murakami was ushering in a whole new aesthetic, which had its roots in pop, but it also and it had its roots in a whole deep Japanese history that people had to be educated on," Poe said.
Welcome to Culver City, a gallery wasteland until Blum & Poe showed up. Photo courtesy Wikipedia.
Opening a Statement Gallery
The duo now had some confidence and a little money in the coffers—and they immediately tried to bet it all. They wanted to leave Santa Monica, and they wanted a bigger space to stage more ambitious shows, so they looked around for a building to buy. The natural choice was Chinatown, where a cluster of galleries had settled, but instead of following the crowd they opted to go off on their own. While driving around on New Year's Day Poe came across a large building in an otherwise not-so-happening stretch of La Cienega.
"When we opened up in 5,000 feet in 2003, it was like fucking huge statement for a young gallery to make," Blum said. "It was a hard run, we were fucking broke forever."
The two took salaries of just $1,500 a month for years, but the bet paid off. And, soon, other galleries followed. Dealers Javier Peres and David Kordansky moved their spaces to Culver City and, by 2007, the New York Times was parachuting in to talk about how the art kids in La La Land were gallery hopping in Culver City and then hanging at the Mandrake, a bar next to Blum & Poe.
But more than just a cool scene, it also marked the arrival of some serious business. The spaces were big, the dealers were ambitious, and suddenly there was a place in Los Angeles to show international artists who were selling for higher and higher prices.
As dealer Joel Mesler put it in an era-recapping essay for ARTnews, "Suddenly everyone wanted to be in Culver City, and Chinatown regressed by about 10 years overnight."
Mark Grotjahn's first solo exhibition. Blum & Poe, Santa Monica, 1998. © Mark Grotjahn, Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo.
The shows Blum and Poe were staging as they approached their 15th year of the gallery displayed a keen eye toward the market, albeit one that never strayed from the vision that guided their choices. In addition to the budding superstars from Japan—Nara and Murakami, but also Tatzu Nishi and the Superflat artist Chiho Aoshima—and their longtime LA artists—Dave Muller, Matt Johnson, Sam Durant—there was a young man named Mark Grotjahn, who used to just hang out in the gallery and check out shows without ever letting on that he was making his own work.
In 2001, Grotjahn started flipping his canvases vertically, with colorful lines coming out of the center in thrilling, robust thrusts. These were the first fully realized works in his now famous "Butterfly" series, many of which were shown at the Santa Monica Blum & Poe space in 2002, and then again at the La Cienega gallery in 2005
By 2007, the Butterfly paintings were selling for more than $900,000 at auction, making the young artist a human embodiment of the fast-rising LA art scene and market.
Mark Grotjahn, Untitled (Dragonfly No. 6 Face 48.98) (2017). Photo: Nate Freeman.
Grotjahn is now one of the most sought-after painters on Earth, with the world's top collectors at each other's throats to get their hands on his primary market work. Because of this, Grotjahn often deals with his collectors directly, rather than through dealers—Blum and Poe included. And yet there is a staggering, menacingly colored Grotjahn painting Untitled (Dragonfly No. 6 Face 48.98) (2017) currently hanging in the Blum & Poe show in Los Angeles. The painting is arguably the most significant work shown anywhere at all during Frieze Week, simply because no large-scale "Dragonfly" works from 2017 have ever been seen before—they all went straight to private homes, without being shown by one of Grotjahn's galleries, which include Gagosian and Anton Kern.
And on the secondary market, Grotjahn's works have sold for $16.8 million at auction and apparently for as much as $25 million privately. When asked about Grotjahn, Poe said, "I wanna go to the unicorn store all the time, that's just not the way it works though."
As success came for Blum & Poe, in 2009 they once again decided to bet the lot and expand to a new building across the street at 2727 La Cienega—a space more than four times the size of their current building, spread across an acre of land.
"It was another all-in move," Poe said. "It was tough; we didn't take a paycheck for over a year, because we had staff."
The opening in October 2009 was such a to-do that Artforum called it a "shock-and-awe affair" and gave the dealers credit for revitalizing the entire scene. The collector Alan Power called the new gallery "MOCA West."
"This was like a thunderclap, it was a major announcement, as we were still considered a young gallery," Blum said. "It really changed the game."
"New Images of Man," installation view, Blum & Poe, Los Angeles, 2020. Courtesy of the artists or estates and Blum & Poe, Los Angeles/New York/Tokyo. César: © 2020 César / SBJ / Artists Rights Society, New York, ADAGP, Paris Alina Szapocznikow: © 2020 Artists Rights Society, New York / ADAGP, Paris. Photo: Makenzie Goodman.
California Gold Rush
The new space was such a hit that Blum had to admit, reluctantly, that it might have influenced the gigantic spaces that European galleries would go on to establish in LA over the next few years. Spruth Magers opened its first American gallery across from the LA County Museum of Art in 2015 and, the next year, Hauser & Wirth opened an entire complex in the downtown arts district.
Two years later, Frieze confirmed rumors that another edition of its fair-in-a-tent would grace the grounds of Paramount Pictures Studios. Despite initial skepticism from Blum and Poe—"We were convinced it would never work, it's just too far-flung of a city," Blum said—the first two editions have been pretty much embraced by everyone.
A detail of a wall at a show of work by Henry Taylor at Blum & Poe New York. Photo: Nate Freeman.
LA might be ready for its closeup, but the attention comes at a time when Blum & Poe's influence has gone global. Look no further than Murakami, who last year left Blum and Poe soon after having a show at the Beverly Hills outpost of Gagosian.
And the Upper East Side townhouse home to Blum & Poe New York is a vital part of that neighborhood's scene. Take the September 2019 opening for Henry Taylor, which the gallery now co-represents with Hauser & Wirth, which no doubt has global plans for an artist who was the out-and-out star of the 2019 Venice Biennale. At the opening, not only did Taylor bring out a who's who of the city's artists, but Kehinde Wiley was there painting on the walls— "Kehinde, tell your boy Barack to get at me!" Taylor shouted in Wiley's ear—as Metropolitan Museum of Art director Max Hollein walked around with a smile plastered on his face, no doubt wishing he could acquire work from Blum & Poe to add to the collection of the country's greatest art museum.
As my conversation with Blum and Poe wound down, we realized how much we actually hadn't discussed. They are doing thrilling things with the estate of Robert Colescott, a deeply important artist just now finding success at auction. In recent years they've devoted shows to the Japanese Mono ha movement and staged a deeply academic and universally acclaimed survey of the postwar European movement Cobra… while also giving the gallery over to Kanye West, who installed a sculpture of 12 celebrities done up in silicone inspired by his song "Famous."
Kim Kardashian and Kendall Jenner attend Famous by Kanye West a private exhibition event at Blum & Poe, Los Angeles, California. Photo by Rachel Murray/Getty Images for Kanye West.
And then we circled back to how it all started, at a small Santa Monica space that they've carried with them over the years. Like, actually, they took the space with them—one room in the gargantuan La Cienega gallery is the exact same specifications as that weird space in the row of beachside office buildings.
"We really had a rough go at the beginning," Blum said. "But hook or by crook, we are very authentic. There's no script."
Would they ever imagine that they would be here, 25 years later—a citadel in the middle of a global capital, one of the biggest galleries in one of the world's biggest art market towns?
This happened at the exact same time: "Yeah I did," said Blum, and Poe said, "No, I for sure didn't."
https://news.artnet.com/art-world/blum-and-poe-history-1784880
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Arpi () is a village in the Areni Municipality of the Vayots Dzor Province in Armenia.

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The village is also known as Arpa.

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Home>Music> Kanye West Designed T-Shirts Encouraging Black People To Turn On Democrats
Kanye West Designed T-Shirts Encouraging Black People To Turn On Democrats
By Tania
"Blexit is a renaissance."
Saturday, October 27, 2018, marked the date of Turning Point USA's Young Black Leadership Summit-- an event aimed at gathering the minds of America's young, black conservatives. Attendees engaged in discussion and debate about America's current political climate, mingling with influential figures from the cultural and political scene including Donald Trump Jr. One such figure, however, was not in attendance: Kanye West.
Though his physical presence was not registered, he was "there in spirit," observed TPUSA's Communications Director, Candace Owens. West is said to have helped designed T-shirts for the summit emblazoned with the term "Blexit," in reference to a movement seeking to free black people from "an emotionally abusive relationship with the Democrat Party," in the words of Owens. "Blexit is a renaissance and I am blessed to say that this logo, these colors, were created by my dear friend and fellow superhero Kanye West," Owens said as she revealed the merchandise. She went on to comment on the role that Kanye has played in bringing the movement to the forefront. "Kanye West has taken one of the boldest steps in America to open a conversation we have needed to have," she gushed.
The shirts, a collaborative effort between Owens and West read "Blexit" or "We Free." They were released in various shades including bright orange, muted lavender, and teal.
Music News Kanye West politics t-shirts design Democrat democrats democratic party Young Black Leadership Summit candace owens republicans donald trump jr.
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MUSIC Kanye West Designed T-Shirts Encouraging Black People To Turn On Democrats
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Hard Taco's latest full album project "Forced to Breed in Captivity" (2005) is available for purchase!
The new Hard Taco album, "Forced to Breed in Captivity," is theoretically AWESOME. I realize that "Peaceful Easy Feeling" by the Eagles is your favorite song of all time. Therefore, to keep the universe in balance, it is your karmic obligation to make "Forced to Breed in Captivity" your favorite album of all time. Here's the skinny. Eleven remixed, remastered versions of some of your favorite songs from the Hard Taco Project website, in an ENTIRELY DIFFERENT ORDER. Now add in four previously unreleased songs, and cute cover art. If you're breathing too hard to keep reading, go lie down with your feet up on a table for a few minutes. Oops! You just crushed your Cassingle of "Peaceful Easy Feeling." I think it's a sign!


Class 6H have been practising their story-telling skills. In order to remember the sequence of events, they created a story map of an African tale -'Why Compassion Bears Fruit'.
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Welcome to The Survival Mom!
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The Survival Mom blog was launched on June 1, 2009, by super-newbie blogger, Lisa Bedford and is now read by more than 220,000 visitors each month. You can read more about me here.
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Service Little Hands Nannies Ltd: OTHER SERVICE ACTIVITIES, Other personal service activities, 96090 - Other service activities n.e.c.
Little Hands Nannies Ltd is a Private Limited Company. Company number assigned by Companies House is 08721123. The company was incorporated on Monday 7th October 2013, so the company age is 2 years 8 months 18 days. The company registration status is Dissolved. The company Standard Industrial Classification is 96090, so Little Hands Nannies Ltd is engaged in Other service activities n.e.c.. Little Hands Nannies Ltd register address is 21 OAKS CLOSE, Leatherhead (area code: KT22 7SH). We have no data about company previous names in last 10 years.


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Thomas Adès's Totentanz a 'Glimpse of Future of Symphonic Music,' New York Magazine Says
"If you'd like a glimpse of the future of symphonic music — or if you just want to know what devilish majesty the New York Philharmonic will shortly unleash — this two-year-old YouTube video from the Proms in London is a good place to start. It shows the world premiere of Thomas Adès's Totentanz (Dance of Death), which the Philharmonic will perform March 12 through 14," wrote Justin Davidson in New York Magazine.
The critical buzz anticipating these performances, conducted by Adès himself, extends to The New Yorker's Alex Ross, who wrote that Adès is "securely established as a modern master, each new piece assuming the trappings of an event."
In The New York Times, William Robin wrote a piece titled "They're Always Stealing His Stuff" about Adès's huge influence on younger and middle-aged composers such as Andrew Norman and Caroline Shaw. He wrote, "Based on a grim 15th-century frieze, Totentanz is far from the uproarious polystylism of Asyla, though it shares its balance of the lyrical and the unsettling."
The Wall Street Journal's Pia Catton did a piece on Adès and Totentanz on March 10. She quotes soprano Christianne Stotijn:
"Sometimes it's an ecstasy of panic, especially when they don't want to die," said Ms. Stotijn, describing the music. "You have grown-up characters who react like children. You have a knight who acts like a hero. It's full of color."
To portray such a variety of characters, Mr. Adès employed a wide range of nontraditional instruments, such as a standard referee's whistle with which Death controls the proceedings.
"When he blows his whistle, you have to stop what you're doing," said Mr. Adès.
Also onstage are snake rattles, whips, ratchets and bamboo canes. "I've gone to town with the percussion," he said, in order to have instruments that people in the 15th century might have had. "The bones and the clappers and things that can be bashed together."
Tags: New York Magazine The New Yorker The New York Times the wall street journal
Which Philharmonic Offerings Made The New York Times, New York Magazine, NPR Best of 2014 Lists?
Some critics' Top Classical Music Events of 2014 roundups are in! We are honored that shout-outs went to:
Sweeney Todd, from March (New York Magazine)
Marino Formenti's Liszt recital as part of the NY PHIL BIENNIAL, from June (New York Magazine and The New York Times, with Chief Music Critic Anthony Tommasini of the latter applauding "Alan Gilbert's vision" and calling the biennial "a tremendous accomplishment." But really, kudos go to our friends and partners at Great Performers at Lincoln Center for spearheading that intimate evening.
Modern Times from September (The New York Times)
We made the Times's other lists as well, including — no joke — the Funniest, from April: "Back-row players of the New York Philharmonic also took the spotlight … when the trombonist Joseph Alessi … and the bassist David J. Grossman joined the Japanese jazz pianist Makoto Ozone for an encore. … In Alan Gilbert, the Philharmonic has a conductor who knows how important it is to let musicians play, in both senses of the word."
And another offers a nice holiday gift idea! NPR Music's Deceptive Cadence picked the CD of Nielsen's Symphonies Nos. 1 and 4, released in September, as one of the Best Classical Albums of 2014.
Tags: The New York Times New York Magazine national public radio
Critics Hail Alan Gilbert's Conducting of Sweeney Todd
Alan Gilbert's way with a baton is at least as good as Emma Thompson's (playing Mrs. Lovett) with dough (see above).
Sweeney Todd was not the New York Philharmonic's first production of a musical theater work, but Gilbert is the first Philharmonic Music Director to conduct one.
Here's a selection of the reviews:
"Under Mr. Gilbert's direction, the performance was remarkable for the clarity it brought to Jonathan Tunick's sumptuous but delicately textured orchestrations. The merry piping of the woodwinds representing the sound of freedom to Johanna in 'Green Finch and Linnet Bird'; the darkly rippling strings that recur during repeated snatches of 'The Ballad of Sweeney Todd'; the terrifying bursts of brass that punctuate the show's more violent moments: Such details can easily be blurred, but came through incisively here." — The New York Times
"Alan Gilbert has already shown that the Philharmonic can be the best opera company in town; now he's put Broadway on notice, too." — New York
"As conductor and music director of the New York Philharmonic, Alan Gilbert has one of the best, most rarefied jobs in Manhattan. And on Wednesday night, after the Philharmonic's concert version of Stephen Sondheim's Sweeney Todd, he proved he's having more fun than the rest of us. ...
"Looking out into the crowd, he spied Mr. Sondheim, then turning to Ms. [Emma] Thompson, he whispered in her ear: 'I'm going to go get him; do you want to come along?'
The two beamed as they ran off the stage and up the aisle (mowing down early departers clogging the path) to Mr. Sondheim, who they embraced and whisked to the stage." — The Wall Street Journal
"Conducted by Alan Gilbert, the orchestra sounded excellent, especially during the more chaotic moments like the second-act 'City on Fire.'" — Playbill
"The glory that is the New York Philharmonic, playing Jonathan Tunick's orchestration, makes you realize just how great this score is; a large chorus added to its grandeur. Bernadette Peters, Barbara Cook, and yes, Stephen Sondheim were in the audience (he was brought on stage for a curtain call). All seemed overjoyed by Gilbert's reading and the superb work of the cast." — ClassicsToday.com
Tags: What's New with Alan Gilbert Sweeney Todd Sondheim New York Magazine The New York Times
Alan Gilbert and Philharmonic Take 3 of NYMag's Top 10 Concerts
In baseball, 3 for 10 is a .300 average — the benchmark of a top hitter. In music it's not bad, either.
Alan Gilbert and the Philharmonic have three concerts on New York magazine's "10 Best Classical Performances of the Year" — more than any other musical institution.
Equally satisfying is the wide range the three concerts reflect. Here's what critic Justin Davidson wrote:
2001: A Space Odyssey, from September's Art of the Score: Film Week at the Philharmonic. "Stanley Kubrick's trippy meditation on galactic travel never seemed more operatic than when the Philharmonic ripped the great soundtrack out of two dimensions and into the concert hall."
Unsuk Chin's Gougalon, from the April CONTACT! concerts: "Scored for a jangly ensemble of percussion, strings, winds, and brass, the piece, subtitled 'Scenes From a Street Theater,' evokes the raucous soundtrack of the composer's native Seoul. ... Chin's work made the whole concert snap into focus."
Ives's Symphony No. 4, from an April subscription concert: "Few conductors can whip Ives's crazy megalopolis of a score into luminous sense more effectively than Alan Gilbert."
Tags: alan gilbert THE ART OF THE SCORE CONTACT! What's New with Alan Gilbert New York Magazine
We Are NY Phil (2)
Very Young Composers (13)
Working in Concert (2)
Jaap van Zweden (19)
Concerts in the Parks (25)
music of conscience (1)
Deborah Borda (3)
What's New at Lincoln Center (22)
zarin mehta fellows (16)
Alec Baldwin (11)
esa-pekka salonen (5)
slideshows (34)
THE ART OF THE SCORE (10)
Richard Strauss (4)
Yo-Yo Ma (6)


I wanted to help raise awareness, so I created an environmental foundation called Just Within Reach.
I sang in church choir all my life, through elementary school, junior high and high school.
I wasn't originally taking drama, but the drama teacher asked me to audition for Bye, Bye Birdie. I did and got the lead role. Initially I was kind of scared, but once I did it I got bitten by the bug and loved it.
We're not saying that you don't need coal, but when you do mine the coal there are responsibilities to it. It may cost a little more, but it is the right thing to do.
I have been reading scripts, going to auditions and looking for the right opportunities.
In musical theater you have to be very big and very animated, while film and television are more toned down.
But I would lie on the floor and analyze everything. I'd listen to all the strings and the background vocals on the Saturday Night Fever soundtrack and try to pick out the different instruments.
Coal companies have a lot of power in the media, and unfortunately a lot of information doesn't get out.
I've always loved music, not necessarily just the Osmonds.
They wanted to do a movie about the Backstreet Boys.
Once colon cancer becomes symptomatic, nine times out of ten it is too late.


This Cotswold Country Cream painted extending dining table seats 4 to 6 people.
This Cotswold Country Cream painted extending dining table seats 4 to 6 people. The table extends from the middle to reveal a separate extension leaf that's stores from within the table top. The table features a 39mm thick top and is very chunky and solid in construction.


就是这些! 可以看 Jeremy Siek 的博文 What is Gradual Typing 来获得更长的解释. 注意规则3把 Any 放在了这个类图的根部. 这使得它和对象(object)非常相似. 不同之处是对象不和大部分类型一致(e.g. 当需要一个 int 的时候你就不能使用一个 object() 实例). 换句话说, Any 和 object 都意味着"允许任意类型"当它们被用来注释参数的时候, 但是只有 Any 可以被传给任意期望类型(在本质上, Any 关闭了静态检查的报错).
当需要 type 的时候, None可以取代type(None); 例如Union[t1, None] == Union[t1, type(None)].
Union[t1, t2, …]. 至少是t1等其中一个子类的类都是这个的子类(译注: 好绕口啊…). 所以它的组件都是t1等等的子类. (例如: Union[int, str] 是 Union[int, float, str] 的子类.) 参数的顺序没有影响. (例如: Union[int, str] == Union[str, int].) 如果ti自己是一个 Union 那么结果可以扁平化. (例如: Union[int, Union[float, str]] == Union[int, float, str].) 如果ti和tj有一个子类关系, 那么以更具体的类型为准. (例如: Union[Employee, Manager] == Union[Employee].) Union[t1]只返回t1. Union是不合法的, 应当是Union[()]. 推出: Union[..., Any, ...]返回Any; Union[..., object, ...]返回object; Union[Any, object] == Union[object, Any] == Any.
Optional[t1]. Union[t1, None]的别名, 如Union[t1, type(None)].
Intersection[t1, t2, ...]. 每一个是t1等子类的类都是这个的子类.(和Union对比, Union是至少一个而不是每一个.) 参数的顺序不重要. 嵌套的交集被扁平化, 如Intersection[int, Intersection[float, str]] == Intersection[int, float, str]. 一个较少类型的交集是一个较多类型的交集的子类, 如Intersection[int, str]是Intersection[int, float, str]的子类. 一个参数的交集就是这个参数, 如Intersection[int]就是int. 当参数有子类关系的时候, 以更具体参数的为准, 如Intersection[str, Employee, Manager]就是Intersection[str, Manager]. Intersection是合法的, Intersection[()]也是. 可推出: Any可以从参数列表中消失, 如Intersection[int, str, Any] == Intersection[int, str]. Intersection[Any, object]是对象. Intersection 和 Union 之间的相互作用很复杂, 但是不应该感到奇怪如果你理解了集合理论中交集和并集的相互作用的话 (注意类型的集合在数量上可能是无限的, 既然对新的子类没有数目限制).
其他的, 如 cast, overloading 以及 stub modules; 最好留给正式的 PEP.
X = Var('X'). 声明一个独特的类型变量. 名字必须和变量名一致.
Y = Var('Y', t1, t2, …). 同上, 受限于t1等等. 大多数情况下像Union[t1, t2, ...]一样, 但是当作为类型变量使用时, t1等的子类被t1等中大部分衍生的基类替换.
在这个例子中, longst()的两个参数都必须有相同的类型(str 或者 bytes), 另外, 及时参数是一个共同的 str 子类的实例, 返回值仍然是 str, 而不是子类(见下一个例子).
class C(Generic[X, Y, ...]): ... 在类型变量 X 等之上定义一个泛型类 C. C 本身参数化, 如C[int, str, ...]是用X->int替换的具体类.
TODO: 解释在函数签名中使用泛型类型. 如Sequence[X], Sequence[int], Sequence[Tuple[X, Y, Z]]以及混合方法. 没有噱头比方说从Sequence[Union[int, str]]或者Sequence[Union[int, X]]派生.
来自 collections.abc 的每一个东西(但是 Set 改为了 AbstractSet).


text:
Megachurch Prepares to Shut Down Retreat Center
By DEEPA BHARATH
THE ORANGE COUNTY REGISTER
updated 1:15 p.m. PT, Sun., Feb. 7, 2010
SAN JUAN CAPISTRANO -- Crystal Cathedral administrators have started shutting down all operations at their 20-acre campus in Rancho Capistrano, closing a church, preschool, retreat area, soccer fields, camping grounds and a conference and wedding center.
This is Not That: An Analysis of John Crowder's "The New Mystics"
by Jackie Alnor
Apostasy Alert
In analyzing a book that promotes itself as a manual on "how to become a part of the supernatural generation," it must be approached with prayer and humility. The temptation to condemn everything in the book risks trampling upon holy things. John Crowder, in his book "Miracle Workers, Reformers and the New Mystics" mixes the holy with the profane. Discerning between the two, especially in gray areas, is a giant task for any believer to take on.
So this analysis will highlight the spiritual quicksand in the book so that fellow pilgrims won't fall into the mire, just like the two travelers in the book, "Pilgrim's Progress" put up a road sign warning others not to go the way leading to the slough of despond.
We are all Seismic Shock or Rev Sizer and Big Brother
http://simplyjews.blogspot.com/2010/01/we-are-all-seismic-shock-or-rev-sizer.html
This time the term Seismic Shock doesn't have anything to do with the tragedy of Haiti. It is about less shocking (but still amazing) story of a blogger being muzzled by a strange synergy between a religious cleric and the gendarmes of the state where both the blogger and the cleric reside.
Death of a Wolf
With his 900 foot tall Jesus Christ threatening to kill him if he did not raise millions of dollars by the end of the month fund raising, Oral Roberts was indeed a deceiver. This tradition of deception is perpetuated by his son Richard, the Toronto Experience freak show hype-artist. While we do not delight in his death neither can we honestly mourn it. We recommend the following article by Jackie Alnor.
http://www.apostasyalert.org/Oral%20Roberts.htm
While I sympathize with those who have lost a loved one, the damage to the true Gospel continues to go forth on Christian television - Oral lives on.
Sincerely, in Christ,
Jackie Alnor
Kingdom Violence
Posted on Apostasy Alert
Headlines in the news this past week were an ugly reminder that violence is on the increase all over America. TV viewers cringed as images of the dead and wounded being rushed into ambulances in Fort Hood, Texas and Orlando, Florida interrupted regular programming. Collective tears were shed for the hysterical parents desperately trying to find out if their young people were among the victims.
The week before, the Bay Area reeled over the news of a 15-year-old girl who had been gang-raped, robbed, beaten and left for dead outside the Richmond High School dance she attended with her friends. Reportedly ten young men, some of them minors, took part in the brutal assault, taking turns at her. Many dance-goers stood around and watched, laughed, took pictures and egged the deviates on. None of the onlookers came to her assistance or even bothered to call the police. Finally, a student heard second hand that a naked girl was laying unconscious in the dark by the dumpster and called 911. Those who told her about it said they didn't want to be snitches and so wouldn't call for help for fear of retaliation. The victim survived but no doubt is scarred for life.
With all the talk in the liberal press about hate crimes, the local news was totally silent over the fact that the victim was a white "church-goer" and all the attackers were Latino in a region where illegal immigration is protected under the "safe haven, sanctuary" laws. If it were the other way around or if the victim were gay, they would have been all over it.
[Click to read entire article on its website.]
Friday, 06 November 2009 23:57
Those that deny "˜penal substitution' are "the enemies of the cross of Christ" [Philippians 3:18]
Over recent years there has been a steady build up of opposition to and outright rejection of what some term as "˜the theory' of "˜penal substitution'. Amongst the definitions for  "˜theory' is one that reads "" "˜a conjectural view or idea'. When it comes then to understanding what was happening on "the cross of Christ" for the faithful Christian the doctrine of "˜penal substitution' is not a matter of "˜conjecture' but it is the factual and glorious heartbeat that sustains God's gift of "eternal life" [Romans 6:23]. "˜Penal substitution' is a factual divine truth that leaps from the pages of the Bible and to deny otherwise is quite simply to set oneself up as an "˜enemy of the cross of Christ'.
by This email address is being protected from spambots. You need JavaScript enabled to view it. from Apostasy Alert
(Original article posted here.)
Do the recent deaths at a Sedona, Arizona New Age spiritual retreat have a lesson for anyone on a Christian journey today? It may seem far-fetched to think that anyone calling themselves "Christian" could learn anything from a group of "˜stupid people' following a charismatic cult leader into an unventilated sweat lodge with 65 other "˜stupid people,' yet this could be a wake-up call for some emergents, ecumenists and "prophetic" charismaniac "˜stupid people.' (tongue-in-cheek, of course)
A Polite Response to Andrew Strom's Article
by J. Jacob Prasch
My family are Hebrew-speaking Israeli Jews who believe in Jesus and retain Jewish culture. Our ministry Moriel has published three articles warning about the extreme axis of the Messianic Movement that lifts up Jewishness instead of Jesus-ness and seeks to place non-Jews under Torah and Sabbatarian observance. It is an issue also addressed in my last book.
Regarding Scott Johnson
The Extreme Axis of the Messianic and Hebrew Roots Movements
By Jacob Prasch
First of all, I and Moriel and others such as Dr. Arnold Fruchtenbaum have warned multiple times about the extreme axis of the Messianic and Hebrew Roots Movements, which in fact is not a movement but a series of strains "" some biblical, some unbiblical. For instance, I and Moriel were among the very first to warn against Peter Michas as being utterly heretical. But not all are, by any measure, alike. Anyone like Scott Johnson stereotyping them all into the same category tells me automatically that he himself does not understand what he is criticizing. It would be like calling all Southern Baptists racial segregationists (which is simply untrue).
Ex-Lap Dancer to Perform for Church Leaders
Like a prayer: The Italian nun who spent 20 years as a lapdancer
By Nick Pisa
A lapdancer has opted for the most dramatic of 'career' changes and become a nun.
Anna Nobili, 38, spent 20 years performing in strip clubs across Europe.
Deciding she wanted more out of life, Miss Nobili has joined the order of the Sister Workers of the Holy House of Nazareth.
Dancer for God: Anna Nobili (pictured now) spent 20 years as a lapdancer


text:
Bicycle mechanic can't stop tinkering – News – The Hutchinson News
Oct 2, 2020 Bicycle, Hutchinson, Mechanic, News, Stop, tinkering
NEWTON – Bicycles have been part of Everett Bradley's life for as long as he could remember. One of the first things he saved up to buy for himself was a bicycle — he spent about $15.
"My first bike, I bought at 10 years old after mowing lawns," Bradley said. "We had to do what we could to patch them together. Everywhere we went, we went on our bicycles."
One of his first jobs was in a K-Mart, assembling Huffy bicycles. There, the emphasis was on speed and just making sure all the parts were where they were supposed to be.
But Bradley, who now works for Prairie View, liked to tinker.
Later on he went on to work for John Hobbs at a bicycle shop in downtown Newton — a shop that closed several years ago. That, at the time, could have been the end of Bradley's tinkering with bicycles.
But it was not.
"When it closed, there were people who did not have a place to go to get their bikes fixed," Bradley said.
They asked him if he would take a look when there was a problem. And they have kept on asking — as have the folks who live in his neighborhood.
Bradley just can't say no.
"My wife would say there are too many in the garage," Bradley said. "… Someone will come by with a 10-speed, and they might not be able to afford what a bike shop is going to charge them. Sometimes they say, 'I have these others, want to swap?' and I will do that."
He said having about 18 bikes of his own in the garage saves him from buying parts for his own bikes — and offers him a library of parts he can use when a neighbor comes by with a needed repair.
And they keep coming. Bradley said he has fixed about 30 bicycles in the last month.
"Kids will bring me a flat tire. They will take their brakes off because the wheel is bent. I will straighten the wheel, fix the breaks and fix the tire. You can't have kids running around with no brakes," Bradley said. "… I can't let well enough alone. I can't stop with a flat tire. I can't let people use a bad bike."
M'sian Mechanic Shares Easy Tutorial On How To Push A Car
Bicycle mechanic can't stop tinkering – News – The Topeka Capital-Journal
8-ft long python found in Uttarakhand roadways bus, gives mechanic fright – dehradun
Northeast State Aviation Technology program soars to meet global pilot & aviation mechanic shortage | WJHL
Man charged with mechanic's murder


text:
Q: Gutenberg Block with JSON Data I created a custom gutenberg block which shall display a description, whatever blocks I put into it and most importantly custom json.
const { registerBlockType } = wp.blocks
const {
    RichText,
    InspectorControls,
    MediaUpload,
    InnerBlocks
} = wp.blockEditor
const {
    PanelBody,
    IconButton,
} = wp.components
const { select } = wp.data

registerBlockType('exampletheme/article-block', {
    title: 'Artikel Block',
    description: 'xxxxxxxxxx',
    icon: 'format-image',
    category: 'example-blocks',
    attributes: {
        image: {
            type: 'string',
            default: null
        },
        description: {
            type: 'string',
            source: 'html',
            selector: 'head p'
        }
    },
    edit: ({ attributes, setAttributes }) => {
        const {
            image,
            description
        } = attributes

        function updateImage(value) {
            setAttributes({ image: value })
        }
        function updateDescription(value) {
            setAttributes({ description: value })
        }
        return ([
            <InspectorControls style={{ marginBottom: '40px' }} >
                <PanelBody title="Blockeinstellungen">

Bildeinstellungen

                    <MediaUpload
                        onSelect={updateImage}
                        type="image"
                        value={image}
                        render={({ open }) => (
                            <IconButton
                                onClick={open}
                                icon="upload"
                                className="editor-media-placeholder__button is-button is-default is-large"
                            >
                                Bild
                                </IconButton>
                        )}
                    />

                </PanelBody>
            </InspectorControls>,

                {image &&

                }
                <RichText
                    key="editable"
                    tagName="p"
                    placeholder="Kurzbeschreibung des Artikels"
                    value={description}
                    onChange={updateDescription}
                />

                    <InnerBlocks />

        ])
    },
    save: ({ attributes }) => {
        const {
            image,
            description
        } = attributes
        function json() {
            const headline = wp.data.select('core/editor').getCurrentPost().title
            const imgUrl = image ? image.sizes.full.url : ''
            const datePub = wp.data.select('core/editor').getCurrentPostAttribute('date')
            const authorName = wp.data.select('core').getCurrentUser.name
            return `
                {myJsonString}
            `
        }
        return (

                    {image &&
                        <picture>
                            <source media="(max-width: 150px)" srcset={image.sizes.thumbnail.url} />
                            <source media="(max-width: 300px)" srcset={image.sizes.medium.url} />
                            <source media="(max-width: 1024px)" srcset={image.sizes.large.url} /> */}

                        </picture>
                    }

{wp.data.select('core/editor').getCurrentPost().title}

                    <RichText.Content
                        tagName="p"
                        value={description}
                    />

                    <InnerBlocks.Content />

                {/*  */}

        )
    }
})

I get the following error in my console. For readability I turned the json off, but it has the same problem. I can't figure out why it differs like that.
Content generated by `save` function:

Content retrieved from post body:

test

asdf

My only guess is, that it might be because of some missconfiguration of the attributes. But they seem totally right for me.
If you could point me to the right direction, that would be awesome. I'm trying to get this working all day long.
Kind regards

A: This problem is almost because you have registered your block and then created a page using this block then you modified your save function or attributes.
You should provide deprecated array to list the changes that you made so Gutenberg know you have changed your configuration.
Further more documentation about deprecated blocks is here


Keep a list of medicines for each person you care for.
That conclusion was reached in a study conducted by investigators at the Helmhol Read More Diet and dietary practices differentially affect mental health in young adults versus older adults, according to research from Binghamton University, State University of New York. While this is something to be concerned with all year long, it's e Read More Just one in every ten adults meet the federal fruit or vegetable recommendations, according to a new study published in the Center of Disease Control's Morbidity and Mortality Weekly Report (MMWR Read More From the experts at Go4Life, a division of the National Institute on Aging, some tips on how to get a loved one to exercise: At times, almost everyone can use a personal cheerleader for enco Read More As 2017 comes to a close, it's only natural that we're starting to think about getting fitter, healthier, more mindful, etc. But while many of us are quick to double down on ou Read More Any physical activity in the elderly is better than none at all for reducing cardiovascular risk, according to an 18-year study in more than 24 000 adults published in November 2017 in the European Read More Research has shown that the benefits of exercise go beyond just physical wellbeing.
There is medication that you can take to help: The vast majority of people with genital herpes have asymptomatic infections.
If you didn't have a symptomatic outbreak within a month after you were initially infected, you may never experience genital symptoms.
For o Read More Neighborhood-level socioeconomic factors in low-income areas may significantly predict heart failure risk beyond individual health factors and socioeconomic status, according to new research in Cir Read More Scientists at the National Eye Institute (NEI), part of the National Institutes of Health, report that tiny tube-like protrusions called primary cilia on cells of the retinal pigment epithelium (RP Read More Sleep studies, which have always been performed in an expensive laboratory setting, could be replaced by a much simpler method that allows subjects to sleep at home.
The details were publish Read More For the first time, scientists at the University of North Carolina School of Medicine and collaborators solved the crystal structure of the activated kappa opioid receptor bound to a morphine deriv Read More Older Americans love certificates of deposit.


As my practice evolved I tended to get a lot of people coming in for digestive health issues. I love working with all things digestion but I'm especially fond of inflammatory bowel disease's such as Ulcerative colitis and Crohn's Disease and have had great successes working with these conditions with people who stick with my program.
Many people suffer from constant bloating, indigestion, heartburn, constipation, diarrhoea, excess flatulence and/or burping, bad breath – None of these are normal. All are a sign that something is not quiet right. As Naturopath's we tend to focus on the digestive system a lot anyway. After studying Kinesiology for two years I developed many new tools, one of which was muscle testing for food intolerances or food and airbourne 'stressors'. This is a great tool in clinic as on the initial consult I can send you home with a list of foods to avoid. Most people get instant improvement from avoiding these foods. We then work on the digestive system, and immune system and often adrenals and by also using Kinesiology we clear these stressors, so that you can enjoy these foods again without any bloating, constipation, cramping, gas, pain, diarrhoea, or anything unusual.
Within digestion I almost always check for parasites and if present we do a parasite cleanse. I also always like to look at the microbiome – what are your good bacteria doing? I find working on the microbiome gives us a tool for ensuring your gut and body stay healthy once we get you feeling good.
We live in an era of extremely poor digestive health. This may be due to our modern diets, high use of antibiotics, stressful lifestyles, super clean living environments, not being breast fed at all or for long enough, fed too early as infants, caesarian births, fed too many grain based foods as infants. Some of us have been eating foods that irritate our guts for years. In short our modern world is not good for our ancient bodies.


text:
Photo: USGS
News Water & Agrifood 2 March 2021
Open data on water productivity for education
#Water education #IHE Delft #Water productivity
In this week's Open Education Week, IHE Delft invites everybody to use the open data of the WaPOR portal and improve the use of water for the production of food.
The Open Education Week is held from 1 till 5 March and aims to stimulate live activities by creating learning communities around open data sources. IHE Delft institute for water education organises many activities around the WaPOR portal and the use of its data.
Portal of open source WaPOR database on water productivity for farmers. (source: screenshot FAO)
Food and water security
According to the UN, agriculture accounts for about 70 percent of worldwide freshwater use. Therefore, careful monitoring of water productivity is critical when it comes to achieving food security in a sustainable way.
Through WaPOR, the UN Food and Agricultural Organisation (FAO) aims to monitor and improve water productivity via a portal of remotely-sensed data. And IHE Delft's Water Accounting and Water Productivity group, led by Associate Professor Marloes Mul, is helping to make this happen.
On the occasion of the Open Education Week, Mul invites everybody to join the WaPOR-platform. 'This water database is truly an open access database where you can actually download the data and do whatever you want with it. It's not just an image or a picture, it's the raw data and anybody can do anything with it.'
Mul: 'It was set up for a specific purpose, to improve water productivity, but if you want to use it for a hydrological model or climate change model, you can do that too'.
The WaPOR database is also used by the Dutch sponsored Water PIP project to achieve a 25 percent improvement of crop water productivity in several African countries. (photo: twitter WaPOR)
Remotely sensed data
The first phase of the WaPOR project focused on creating a database using remotely sensed data for Africa and the Middle East. Mul said that a lot of time was spent on the calibration and validation of the data. The resulting database offers a high resolution (250m) database containing not only information related to water, but also combines it with biomass production, something that other databases have not done.
With the second phase having kicked off on January 1, 2021, the WaPOR platform continues to evolve. It will now focus on country level, demand-driven, applications of the database. It also aims at expanding beyond Africa and the Middle East to become a global database over the next five years.
Ultimately, this portal gives open access to near real time, pixel-based information that can be used by farmers, irrigation managers, river basin organisations and governmental agencies to improve water productivity and allocation on the ground.
IHE Delft train-the-trainer course on how to use the WaPOR portal to improve the water productivity amongst farmers in Rwanda. (photo: Twitter WaPOR)
IHE Delft organised many activities to open up the use of the data on the WaPOR platform and expand the number of applications that can help to improve agricultural water management. Another aspect involves outreach and capacity building. Trainings have been conducted in some 15 countries and the tools have been made available on the online WaPOR portal.
'It's quite exciting to see this course online and the outreach that it generates," said Mul. To date the course has seen more than 900 students enroll from dozens of countries across the globe.
Jury of a hackathon held in November on new applications for the WaPOR portal. (screenshot YouTube video)
More recent three hackathons have been held, using the WaPOR database to tackle a problem around one of four themes: communications to smallholder farmers. Through a collaborative effort by Water PIP project partners, MetaMeta, IHE Delft, and Wageningen University & Research, the hackathon was launched in November 2020. Over 250 people registered, resulting in about 30 teams at the start.
In the end, two winning teams were chosen. One team created a QGIS plugin for the database to make it more user friendly. The other, a group of students from Tarbiat Modares University (TMU) in Iran, came up with an idea they called WaPOR for Sustainable Ecosystem Management (WaPOR 4 SEM).
Go to OpenCourseWare with all open water courses by IHE Delft.
Go to the WaPOR portal
Dutch experts explain the potential use of remote sensor data that is available from the open source WaPOR platform. This video is part of one the open courses on water productivity, developed by IHE Delft.
This news item was originally published on the website of IHE Delft
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Chatswood Private Hospital is a state-of-the-art facility opened in January 2016 in the Sydney north shore suburb of Chatswood.
Our custom-built facility hosts precision instrumentation, complemented by highly experienced specialist nursing staff who use best practice sterilisation procedures.
With an average stay of just three and a half hours, we are proud of our record of excellent recovery with minimal disruption to patients' lives.
The vast majority of our ear, eye, nose, throat and facial procedures require only a day stay in our hospital; additionally, we have four overnight beds for 23-hour stays for patients needing longer recovery periods.
We have six operating theatres, one laser procedure room, 14 first stage anaesthetic and recovery trolleys, 16 second stage day surgery recliners, and four overnight beds.
Our hospital sets new standards in excellence, due to rapid advancements in technologies and this being a green field, custom-built facility. We're proud to offer technologies such as Zeiss ceiling mounted microscopes, GE anaesthetic machines, precision instrumentation, Femtocataract laser, exacting sterilisation equipment and hi-tech ophthalmic and ENT intraoperative machines.
Our nursing and support staff are second-to-none, attracted by the specialisation of what we do and the long history of our parent companies in providing ear, eye, nose, throat and facial surgeries.
In 2015, The Ophthalmic Surgery Centre, established in 1997, partnered with the Sydney ENT and Facial Day Surgery Centre, established in 1995, to create Sydney's only dedicated private hospital for specialist surgical procedures of the eye, ear, nose and throat.
The greenfield site is located in Chatswood, a significant business district hub with a growing array of retail, business, and entertainment facilities. Chatswood is located on the north shore train line, with excellent access to both public transport as well as convenient parking.
Chatswood Private Hospital is part of the Presmed Australia group of day hospitals.
We are guided by two key measurements: clinical outcomes and patient satisfaction.
We pride ourselves on continuing to ensure we improve our standards, knowing that excellence is a journey, not a destination.
We appreciate that undergoing surgery can be stressful, tiring or scary for patients. Our experienced team seeks to ensure all patients are treated with the utmost respect and care. Feedback from patients directly informs any changes we implement to our processes and procedures.
We also have volunteer patient and family advisors who give detailed feedback on their experiences at our hospital to help us plan improvements.
We are committed to the ongoing education of our patients, staff and related health professionals and endeavour to provide up-to-date, useful and relevant information and education.
We run specialist health education programs in the community and also support local and international healthcare charities to bring critical surgery to those in need.
We are licensed by the NSW Department of Health and the Australian Council on Healthcare Standards (ACHS), observing their strict day care procedure guidelines. We have negotiated contracts with all the major health funds and are a proud member of the Australian Private Hospitals Association and the Australian Day Hospitals Association.
We are also the first Australian private member of the World Association of Eye Hospitals, a prestigious group of leading ophthalmic centres around the world.


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Also Known As: Waldschaf
The Bavarian Forest sheep, successor of the Bavarian Zaupel, is decreasing in popularity and has only been in the Bavarian herdbook since 1987. Nevertheless, it is an ancient and (once) widespread breed in its native region.
First mention of the Bavarian Forest sheep's ancestor the Zaupelschaf, is in the year 1536, in a decree of Duke Ulrich of Wuettemberg. Those who raised Zaupel sheep would be met with punishment, and that same decree endorsed the introduction of Flaemischer sheep. The Zaupelschaf was already having a tough time demand-wise, because of the increasing popularity of the Schlichtwolligen German sheep. It only persisted in Lower Bavaria at the farms of older generations.
In the year 1890, in a memorandum of the agricultural association, the situation in Lower Bavaria is described as: "The rural breeders deal in the breeds of the normal Zaupel, the Walder and stone sheep." This was interpreted as the Zaupel, an already regionally distinctive sheep, being divided into two groups: Bavarian forest, the Walderschaf, and into a more alpine form, the stone sheep. These terms become generally accepted across the alpine and forest regions. In the later literature, the Zaupelschaf receives no more mention, and considered extinct.
Present Situation
The forest sheep breed took a pleasing upswing in Bavaria. While the forest sheep became more popular, the stone sheep is still quite small in number, only existing in the area of the Bavarian alps.
In 1960, a Bavarian working group for the preservation of forest and stone sheep was formed, with the goal of more intensive cooperation with the breeders to increase the population of both breeds. Later, the Danube land alliance for gene reserves (DAGENE) will dedicate itself to an internationally coordination of this goal.
The present stock in Bavaria covers over 200 sheep with 8 different Bavarian family lines. In addition, there's another 3 family lines come from Boehmen. In 1988, twenty sheep were imported for breeding purposes by the CSFR to increase the genetic diversity of these existing bloodlines.
Description of Breed Target
The description of breed target updated by the working group calls a small to medium sized, usually white sheep, although brown and black occur. The head profile is straight and the nasal bone is curved in the male. The ears are away horizontally or hanging.
Performance Specification
The Bavarian Forest sheep can be kept in unfavorable climate. They are also notable for their high fertility, with an average lambing percentage of 180-200%. The dams have a good milk production with according to high raising rate of the lambs. The supports achieve a lebendgewicht from 60-70 kg, dams 40-55 kg. The mast performance of the lambs is with 180-200 g daily increase. This is achieved however without each force fodder addition. Feeding the dams takes place just as preferably extensively. This fleece weight achieves 3.5 kg with old supports and 3.0 kg with dams.
The forest sheep is still to be classified as endangered. Breeding goals as of now are to produce as large a number of animals as possible in order to obtain a large sample of genetic material, so they can start to select for better traits.
On the international level, cooperation with Austria and Tschechien persists, where residues of this sheep race are also found. Because of the economic restructuring in Tschechien, the Boehmi forest sheep is not nearly as threatened to become extinct.
Race responsible person: Peter Neugebauer, Weisleithen 6, 94166 Stubenberg,
Phone: 08571/8958
Gesellschaft zur Erhaltung alter und gefährdeter Haustierrassen e.V. (GEH)
Mason, I.L. 1996. A World Dictionary of Livestock Breeds, Types and Varieties. Fourth Edition. C.A.B. International. 273 pp.


Find all the posts in this series here).
Without a dedicated guide, they end up, in the words of professor Henry Jenkins, as feral children of the Internet raised by the Web.0 wolves.In addition to learning how to phrase a search query, students need to learn how to protect themselves online, and how to share their work through wikis, videos, and other interactive media.Luckily, if you dont feel up for it, its very cute as is as well.Lets get to making these cute things!With the Web evolving by the minute, can classroom teachers alone, stressed by assessment testing and ever-growing paperwork burdens, help students figure this all out?You can also loop ribbon through the roof flaps and close the box that way.Add one more piece of tape to the top flaps and pinch the roof closed.Fill the box with a few small treats, a small gift or a thank you note.While not every school librarian is yet adapting to the new reality of what is demanded of the role, thousands of other dedicated librarians I have met are turning their school media centers into learning commons where students seamlessly use state-of-the-art Web tools to consume.
In a School belk thanksgiving gift card giveaway Library Journal article that deemed Rosalia The New Poster Girl for School Libraries, Rosalia said she was awestruck at how this article has struck a nerve all over the country with people who are not librarians.
Before parents accept the wisdom of a school board to cut school librarians, they should ask: Will my child graduate with a 21st century resume, or a 19th century transcript?
i love hearing from you with suggestions for projects and gift ideas youd like to see.Many absolutely clueless administrators still believe that a search engine is an adequate substitute for a trained research teacher.The article made the Times most e-mailed list for days and was featured on more than 100 blogs, as educators and parents everywhere recognized the need for media specialists to guide students.Kentucky, in becoming the first state to adopt the Common Core State Standards Initiative, recognized the importance of new technology and research expectations, and it cited school librarians as a key part of its future initiatives.Mark Moran is CEO of Dulcinea Media, a Web publisher that offers free content and tools that teach students how to use the Web effectively.Students at many elite schools are learning critical 21st century skills while librarians are eliminated from budget-stressed school districts.The most popular color?What a University College of London study called a new divide, with students who have access to librarians taking the prize of better grades while those who dont have access to school librarians showing up at college beyond hope, having already developed an ingrained coping.


Carbohydrates come in two basic forms: complex and simple. Simple carbohydrates (carbs) are one, two, or at most three units of sugar linked together in single molecules. Complex carbs are hundreds or thousands of sugar units linked together in single molecules. Simple sugars are easily identified by their taste: sweet. Complex carbs, such as potatoes, are pleasant to the taste buds, but not sweet.
High-fiber (high-cellulose) vegetable foods are the healthiest choices for human nutrition, and intake of these foods is associated with lowered incidences of hypertension, cancer, arthritis, diabetes, etc. Examples are lettuce and broccoli. Examples of low-fiber, complex carbs are banana, tomato, squash and all cereals and grains (therefore bread and pasta), potatoes and rice.
It matters not if a carb is simple or complex. After digestion, it appears in the circulatory system in the simple form, as glucose, on its way to the cells where it is used for energy. To be transformed into simple sugars, complex carbs must be digested by the enzyme amylase. Amylase is secreted by the salivary glands, which empty into the mouth, and by the pancreas, which empties into the head of the duodenum.
Simple sugars and low-fiber, complex carbs represent a threat to health when they are consumed in inappropriate amounts such as may occur in low-soy, vegetarian diets where they are being eaten to replace the calories which would ordinarily come from protein. Processing of plant food strips away its fiber and/or vitamin content. A simple example of processing is cutting an orange in two pieces, pressing the juice into a glass and discarding the fiber. While it is true that fiber is an important part of your diet, even necessary to protect you from some diseases, carbohydrates themselves are not necessary. There are "essential" fatty acids and "essential" amino acids (from protein), however there are no known essential carbohydrates.
Most of our carbohydrates come from cereals and grains, both products of the agricultural revolution. Our bodies are not genetically designed to thrive on large amounts of these fiberless complex carbs. With the popularity of cereal- and grain-based "health diets," carbohydrate metabolism has been upset in approximately 3/4 of the population which simply cannot handle this large load of carbs. Increased insulin output from the pancreas, over the years, results in hyperinsulinism, insulin resistance and the resulting diseases mentioned above: hypertension, dyslipidemia [disorder of fat in the blood serum], atherosclerosis [fat buildup in the large and medium sized arteries] and heart disease.
Complex carbs with lots of fiber should be consumed in proper proportion for maximum health and vitality. Complex carbs with lots of fiber are rich sources of necessary vitamins and minerals as well as enzymes when in the raw state. The problem happens when carbohydrates are altered by processes which provide empty calories stripped of much of their original food value.
I should also mention the relationship between simple sugars and mucus formation. The biochemical name for mucus is mucopolysaccharide. This literally means "mucus of many sugars," and it tells us how mucus is formed through the linking together of sugar molecules. If you have a condition, such as asthma or emphysema, in which mucus is part of the problem, you can do yourself a lot of good by stopping your intake of simple sugars and lowering your intake of complex carbohydrates (which convert to simple sugars upon digestion). Unfortunately, this means such wonderful sweet fruits as plums, peaches, apples, etc., must go along with breads, pastas and pastries.
The most healthy form of sugar is the complex carbohydrates present in high-fiber vegetables; however, it is certainly acceptable to spice up your diet in moderation with simple sugars in the form of whole fruits – unless, of course, you are trying to avoid mucus formation. Eat your fruits, do not juice them and drink them, unless you are on a juice fast as described earlier in this book. Eating the whole fruit results in the inclusion of natural fiber, which allows proper absorption of sugars. If you must have juice, dilute it with twice the recommended amount of water, so as to get the taste without overdosing on simple sugars.
Excess carbohydrates also causes generalized vascular disease. The high-carbohydrate diet that is now so popular, causes the pancreas to produce large amounts of insulin, and if this happens for many years in a genetically predisposed person, the insulin receptors throughout the body become resistant to insulin. Because insulin's action is to drive glucose into the cells, this results in chronic hyperglycemia, also called "high blood sugar." A large portion of this sugar is stored as fat resulting in obesity. Excess insulin also causes hypertension and helps initiate the sequence of events in the arterial wall that leads to atherosclerosis and heart disease.
Adult onset diabetes is known to be greatly benefited by the adoption of a low carbohydrate diet, moderate in fat, which stresses the importance of a regular intake of sufficient protein. You will not hear this advice from the American Diabetes Association (or from most doctors), since they are still operating on the research as it was twenty years ago.
Many cancers, such as breast, colon and lung cancer, apparently have a hereditary tendency. However, it may be that nutritional habits are passed on from one generation to the next, thus accounting for the familial tendency toward cancer.
Excess fats damage the immune system. Excess carbohydrates upset the hormonal system mentioned above and results in an imbalance that also suppresses the immune system. Thus obesity is associated with a higher incidence of infection.


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The 2017 Samuel French Off-Off Broadway Festival -- finalist!
NYC, I'm coming back! My short play "The Presentation" was selected as one of the top 30 finalists in the 2017 Samuel French Off-Off Broadway Festival, August 8 - 12. It will be performed at Classic Stage Company Theatre in New York City.
For the past 42 years, the Festival has given emerging playwrights the opportunity to have their work produced with the support of such theatres as The Public Theater, The Royal Court, Ensemble Studio Theatre, The Flea Theatre, The Living Theatre, and Naked Angels, and with the backing of prestigious university playwriting programs such as The New School for Drama, Columbia University, University of Iowa, and Tisch School of the Arts' Dramatic Writing Program.
This year, over 1,000 plays and musicals were submitted. It's SUCH an honor to be selected as one of the final 30!
Read my interview and check back here soon for more details!
live performance, play, playwriting, theater, writingDeborah Valenti May 19, 2017 The Presentation, Samuel French, Off-Off Broadway Festival, short play
Finalist for The 2017-2018 Reva Shiner Comedy Award, plus 2017 StageRaw Award Nominations!
awards, comedy, live performance, play, theater, writingDeborah Valenti April 11, 2017 The Super Variety Match Bonus Round!, Rogue Machine Theatre


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Book Break: David Peace, author of "Patient X: the Case-Book of Ryūnosuke Akutagawa"
Tuesday, January 22, 2019, 18:15 - 20:30
On Tuesday, January 22, 2019, David Peace will be reading from and discussing his latest novel Patient X: the Case-Book of Ryūnosuke Akutagawa, published by Faber & Faber (UK) and Alfred A. Knopf (US) in 2018, and by Bungei Shunju in Japan in 2019.
Ryūnosuke Akutagawa (芥川龍之介) was one of Japan's great writers - author of the stories 'Rashōmon (羅生門)' and 'In a Bamboo Grove (藪の中)', most famously - who lived through Japan's turbulent Taishō period, including the devastating 1923 Earthquake, only to take his own life at the age of just thirty-five in 1927.
Inspired and informed by Akutagawa's stories, essays, letters and life, David Peace has fashioned a most extraordinary novel of tales. An intense, passionate, haunting paean to one writer, it also thrillingly explores the act and obsession of writing itself, and the role of the artist, both in public and private life, in times which darkly mirror our own. The novel has been described as 'one of the most original and intriguing books you'll read this year,' and 'the most illuminating commentary possible that Anglophone readers could find on this compelling figure.' David Mitchell, author of Cloud Atlas, declared Patient X to be 'the best work to date' by David Peace, and Ian Sansom (The Guardian) wrote, 'Unlikely as it seems, Peace's extraordinary, highly performative style is as well suited to depicting Akutagawa's various struggles as a writer as it was to portraying the drama of being Brian Clough (a famous English football player and manager).'
David Peace - named in 2003 as one of Granta's Best of Young British Novelists - was born in 1967 and brought up in Yorkshire in England. He is the author of the Red Riding Quartet (Nineteen Seventy-Four, Nineteen Seventy-Seven, Nineteen Eighty, and Nineteen Eighty-Three); GB84, which was awarded the James Tait Black Memorial Prize in 2005; The Damned Utd, and Red or Dead, which was shortlisted for the Goldsmiths Prize. The final part of his Tokyo Trilogy - to follow Tokyo Year Zero and Occupied City - will be published after Patient X, his tenth novel. He lives in Tokyo and lectures in the Department of Contemporary Literature at the University of Tokyo.
The library committee is offering a cocktail party – "Meet the Author" – starting at 6:15 pm, followed by dinner at 6:45 pm (Menu: Green Salad / Grilled Salmon with Tomato & Herb Sauce / Dessert / Bread / Coffee or Tea). Drinks can be ordered on a cash basis from the bar in the room. Book Break charges are 2,100yen / 3,500yen (members / non-members) per person. The member price is applicable to members' guests.
To FCCJ members: Sign up now at the reception desk (03-3211-3161) or on the FCCJ website. To help us plan proper seating and food preparation, please reserve in advance, preferably by noon of the day of the event. Those without reservations will be turned away once available seats are filled. Reservations cancelled less than 24 hours in advance will be charged in full.
To non-members: Sign up now at the reception desk by email (front@fccj.or.jp). Please reserve and pay in advance by Thursday, January 17th. Those without reservations will be turned away once available seats are filled. No refund is available unless event is cancelled for the reasons on our part.
Any attendees with food restriction should inform the frontdesk (front@fccj.or.jp) one day before the event.
(The talk will be in English)
¥ 0 (Guests)


text:
March 1, 2022 doug28352
Ultimate Wrestling Q&A: McMahon vs Hogan, Asuka, WWE Booking & More
McMahon vs Hogan, Asuka, WWE Booking and More
Are you ready for some wrestling? It's meaner than a grizzly bear with ingrown hair. It's the Ultimate Wrestling Q&A and it starts right now.
So Shane McMahon has issued a challenge for Hulk Hogan at Wrestlemania. If Hogan says yes, how would YOU book this match?
If Hogan was physically able and said yes, I'd do it like this. Hogan sends in a video to RAW and mentions Shane's challenge. He says that if Shane wants to fight the Mania, brother, it's on. Hogan states that he'll be at Wrestlemania and whatcha gonna do. The usual schtick. Then we get to Mania. Shane comes to the ring with a mic and calls out Hogan. Hogan comes out, cuts a promo, and says Shane is going down, brother… to the Mania. Axel-Mania. Yes, I'd have Curtis Axel come out and revive his whole Axel Mania gimmick and character. Shane is pissed but says ok. We get a quick match where Shane dominates most of it, as befitting a McMahon. Hogan causes a distraction from outside the ring and Axel nails Shane with the big boot. Legdrop and pin. Hulkamania and Axelmania celebrate their win. The fans are happy. Shane had his match. And everybody wins.
I keep hearing that Asuka is ready to return, but WWE doesn't have any plans for her creatively. How is this possible?
I've heard about this and the story about lack of creative plans was speculation by one man that was ripped off and given a life of its own by the dirt-sheets. We're talking about Asuka and given who she is and her status in the WWE, WWE Creative doesn't need too much to pin her into a spot at Mania. All she needs to do is show up, issue a challenge to see who is ready for Asuka, and whoever comes out, there you go. It's just that simple. So either she's not medically cleared yet to return or WWE is just holding off with her until after Mania. But so far as not having anything for her creatively, that's just hogwash.
Wouldn't you rather see Vince versus s Steve Austin at WrestleMania?
Honestly, I don't want to see Vince anywhere near the ring. If Austin is going to have a match, I want it to be against someone who is a good worker and can give Steve a fitting farewell, not a clumsy, deranged old man. So let Steve fight Owens and let Vince do whatever it is that Vince is doing. It's better for all involved.
Dewey Robertson versus The Missing Link. Who wins?
Well, it's a tough call considering that Dewey is the Missing Link, and vice versa. Who wins if they were separate people? Link would since he was the bigger name and brought in the most money for the Robertson household. Dewey was a great wrestler but didn't have that it, that strong character that brought in the fans. As the Link, he did.
Ole Anderson & Stan Hansen versus Kevin Owens & Seth Rollins. Who wins?
Seth and Owens are damn good and better technical talents, but Ole and Stan were just plain old-school tough as nails and mean, when necessary. This would actually be a fun match to see and a great contrast of styles, but in the end, Kevin and Seth would take the fall and do the job, and probably feel honored to do so. Ole and Stan win.
Finn Balor won the United States Title on WWE RAW and Damian Priest turned heel. What the hell is going on with WWE right now?
It's Vince McMahon booking and the WWE. If that doesn't explain it, nothing will. Finn Balor, and Ricochet over on Smackdown, have essentially been in limbo for the past year or so, and all of a sudden, they're getting pushed and Balor is the new U.S. Champion. And Priest, who has been used regularly, but with a mostly forgettable reign as the U.S. Champion, just decides to change his character from face to heel with no reason why except for Big Show isn't with the company anymore. Someone has to do it, I guess. And what about Edge turning heel and doing a conchairto on AJ Styles for no reason at the end of RAW? It's just crazy times in the WWE and nothing makes sense anymore. It's what you get when a senile old man is boss. Oy vey!
And there you go. My thanks for reading. Comments, thoughts, and any questions you may have are welcome and appreciated. Until the next time, take care and be safe. I'll see you at the old mill stream.
Previous Questions By Casper (and Kelly): Pushing Buttons, Waking Up & More
Next Ultimate Wrestling Q&A: Terry Taylor, Seth Rollins & More


Authors (abbreviated): (Eidam) C.R. Benj. & Hesselt.
1. Actinomucor elegans (Eidam) Benjamin & Hesseltine, 1957, Mycologia, 49: 241. / in Matsushima (1975), 186.
2. Actinomucor elegans (Eidam) C. R. Benjamin & Hesseltine 1957 Fig. 15.
3. Actinomucor elegans (Eidam) comb. nov. Figs. 1-7.


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text:
Q: Find record in table and save id to another table in Rails I'm developing an app in which users can have a personal food diary.
It's pretty simple: a user can search for a nutrient on a Nutrients table (let's say milk) - currently through a pretty simple search form - and then should be able to save the amount he consumed of this nutrient (together with the nutrient_id) on a second table, which is called Diaries (that holds the nutrient_id as foreign key and an integer field called "amount").
My search works. I can also create new records in Diaries but I have to type in the nutrient_id manually.
My question is now how I can make this easily work? Ideally a user finds a nutrient clicks on it and will be redirected to a page that shows this nutrient together with a field for "amount" and a save button to save both information (nutrient_id and amount) on the Diaries table.
At the end of the day I think the user will be directed to the new action of my diary controller - the question is how my app sets the nutrient_id for this action for the nutrient the user selected before?
Sorry if this is a too simple question but I just started coding few weeks ago.
Thanks a lot for help!
My code looks like as follows:
nutrient.rb
class Nutrient < ActiveRecord::Base
  has_many :diaries

  def self.search(search)
    where("name LIKE ?", "%#{search}%")
  end

end

diary.rb
class Diary < ActiveRecord::Base
  belongs_to :nutrient
end

nutrients_controller.rb
class NutrientsController < ApplicationController
  before_action :set_nutrient, only: [:show, :edit, :update, :destroy]

  # GET /nutrients
  # GET /nutrients.json
  def index
    @nutrients = Nutrient.all
  end

  def search
    if params[:search]
      @nutrients = Nutrient.search(params[:search]).order("created_at DESC")
      if @nutrients.present?
        @nutrients
      else
        flash[:notice] = "Nutrient not found in database"
      end
    end
  end

  # GET /nutrients/1
  # GET /nutrients/1.json
  def show
  end

  # GET /nutrients/new
  def new
    @nutrient = Nutrient.new
  end

  # GET /nutrients/1/edit
  def edit
  end

  # POST /nutrients
  # POST /nutrients.json
  def create
    @nutrient = Nutrient.new(nutrient_params)

    respond_to do |format|
      if @nutrient.save
        format.html { redirect_to @nutrient, notice: 'Nutrient was successfully created.' }
        format.json { render :show, status: :created, location: @nutrient }
      else
        format.html { render :new }
        format.json { render json: @nutrient.errors, status: :unprocessable_entity }
      end
    end
  end

  # PATCH/PUT /nutrients/1
  # PATCH/PUT /nutrients/1.json
  def update
    respond_to do |format|
      if @nutrient.update(nutrient_params)
        format.html { redirect_to @nutrient, notice: 'Nutrient was successfully updated.' }
        format.json { render :show, status: :ok, location: @nutrient }
      else
        format.html { render :edit }
        format.json { render json: @nutrient.errors, status: :unprocessable_entity }
      end
    end
  end

  # DELETE /nutrients/1
  # DELETE /nutrients/1.json
  def destroy
    @nutrient.destroy
    respond_to do |format|
      format.html { redirect_to nutrients_url, notice: 'Nutrient was successfully destroyed.' }
      format.json { head :no_content }
    end
  end

  private
    # Use callbacks to share common setup or constraints between actions.
    def set_nutrient
      @nutrient = Nutrient.find(params[:id])
    end

    # Never trust parameters from the scary internet, only allow the white list through.
    def nutrient_params
      params.require(:nutrient).permit(:name)
    end
end

diaries_controller.rb
class DiariesController < ApplicationController
  before_action :set_diary, only: [:show, :edit, :update, :destroy]

  # GET /diaries
  # GET /diaries.json
  def index
    @diaries = Diary.all
  end

  # GET /diaries/1
  # GET /diaries/1.json
  def show
  end

  # GET /diaries/new
  def new
    @diary = Diary.new
  end

  # GET /diaries/1/edit
  def edit
  end

  # POST /diaries
  # POST /diaries.json
  def create
    @diary = Diary.new(diary_params)

    respond_to do |format|
      if @diary.save
        format.html { redirect_to @diary, notice: 'Diary was successfully created.' }
        format.json { render :show, status: :created, location: @diary }
      else
        format.html { render :new }
        format.json { render json: @diary.errors, status: :unprocessable_entity }
      end
    end
  end

  # PATCH/PUT /diaries/1
  # PATCH/PUT /diaries/1.json
  def update
    respond_to do |format|
      if @diary.update(diary_params)
        format.html { redirect_to @diary, notice: 'Diary was successfully updated.' }
        format.json { render :show, status: :ok, location: @diary }
      else
        format.html { render :edit }
        format.json { render json: @diary.errors, status: :unprocessable_entity }
      end
    end
  end

  # DELETE /diaries/1
  # DELETE /diaries/1.json
  def destroy
    @diary.destroy
    respond_to do |format|
      format.html { redirect_to diaries_url, notice: 'Diary was successfully destroyed.' }
      format.json { head :no_content }
    end
  end

  private
    # Use callbacks to share common setup or constraints between actions.
    def set_diary
      @diary = Diary.find(params[:id])
    end

    # Never trust parameters from the scary internet, only allow the white list through.
    def diary_params
      params.require(:diary).permit(:nutrient_id, :amount)
    end
end

routes.rb
Rails.application.routes.draw do

  resources :diaries
  resources :nutrients do
    collection do
      get :search
    end
  end

_form.html.erb (for a new diary record)
<%= form_for(@diary) do |f| %>
  <% if @diary.errors.any? %>

<%= pluralize(@diary.errors.count, "error") %> prohibited this diary from being saved:

      <% @diary.errors.full_messages.each do |message| %>

<%= message %>

      <% end %>

  <% end %>

    <%= f.label :nutrient_id %>

    <%= f.number_field :nutrient_id %>

    <%= f.label :amount %>

    <%= f.number_field :amount %>

    <%= f.submit %>

<% end %>

A: There are several ways to resolve this, one the quickest and most likely the best approach to me would be to nest the diaries under nutrients, since diaries belongs_to :nutrients
  resources :nutrients do
   resources :diaries
    collection do
      get :search
    end
  end

This way your all your diaries path method would accept a @nutrient argument and your route would be like: /nutrients/4/diaries/1
So in your diaries_controller, you could have:
class DiariesController < ApplicationController
   before_action :set_nutrient

   def new
    @diary = @nutrient.diaries.new
   end

   def create
    @diary = @nutrient.diaries.new(diary_params) # you can safely remove the nutrient_id from the strong params
    ... remaining logic here
   end
...
  private
   def set_nutrient
    @nutrient ||= Nutrient.find(params[:nutrient_id])
   end

   # You cans skip/ignore this method, if you don't want to be too strict
   def set_diary
    @diary ||= @nutrient.diaries.find(params[:id])
   end
end

Then in your view, you could then have:
<%= form_for([@nutrient, @diary]) do |f| %>
  <% if @diary.errors.any? %>

<%= pluralize(@diary.errors.count, "error") %> prohibited this diary from being saved:

      <% @diary.errors.full_messages.each do |message| %>

<%= message %>

      <% end %>

  <% end %>

    <%= f.label :amount %>

    <%= f.number_field :amount %>

    <%= f.submit %>

<% end %>

As I mentioned, there are still other ways of doing this, as you could also use hidden_fields however, this seem to be the cleanest way to me.
If you don't always want your diaries routes to be nested, you could expect: [the list of actions that should not be nested, eg show], both on your before_action and your routes' resources :diaries. Hope I'm able to help or let me know other confusions you may encounter.


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