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text:
Aaron Sosa (ur. w 1980 r. w Caracas) - wenezuelski fotograf. Ukończył Technicznej Sztuk Wizualnych "Cristóbal Rojas" ("Escuela Técnica de Artes Visuales").

Jest członkiem założycielem stowarzyszenia fotografów "Luz Continua". Członek wydarzeń kulturalnych związanych z fotografią (I Narodowym Festiwalu Fotografii Clarines 2000, Miesiącu Fotografii Caracas 2003), gość specjalny Kongresu Fotografii Maracaibo 2002. Laureat Narodowego Konkursu Salón Nacional de Fotografía "Jóvenes Fotógrafos con Venezuela" oraz Narodowego Konkursu Fotograficznego, organizowanego przez Instytut Goethego w Caracas. Obecnie współpracownik Observatorio Nacional de Ciencia Tecnología e Innovación ONCTI.

Linki zewnętrzne

 Blog artysty

Fotografowie
Wenezuelczycy
Urodzeni w 1980

redpajama_set_name: RedPajamaWikipedia


text:
ZBook Workstations
Convertibles &
detachables
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digital presses
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services for home
Search HP.com1676317
Press Release: September 11, 2014
Topics: Strategic Focus: Cloud, Global Business Fundamentals, Strategic Focus: Software, Technology and Innovation, Products & Services
HP Acquires Eucalyptus to Accelerate Hybrid Cloud Adoption in the Enterprise
Open source leader Marten Mickos joins HP to run Cloud business
PALO ALTO, Calif., Sept. 11, 2014 — HP today announced a definitive agreement to acquire Eucalyptus, a provider of open source software for building private and hybrid enterprise clouds.
After the transaction closes, Eucalyptus Chief Executive Officer (CEO) Marten Mickos, a respected leader in the cloud industry and a longtime advocate of open source, will join HP as senior vice president and general manager of the Cloud business, reporting to Meg Whitman, chairman, president and chief executive officer of HP.
In this role, Mickos will lead the HP Cloud organization in building out the HP Helion portfolio, based on OpenStack® technology. Prior to Eucalyptus, Mickos was CEO of MySQL, which he grew from a garage start-up to the company providing the second most widely used open source software in the world.
"The addition of Marten to HP's world-class Cloud leadership team will strengthen and accelerate the strategy we've had in place for more than three years, which is to help businesses build, consume and manage open source hybrid clouds," said Whitman. "Marten will enhance HP's outstanding bench of Cloud executives and expand HP Helion capabilities, giving customers more choice and greater control of private and hybrid cloud solutions."
"Eucalyptus and HP share a common vision for the future of cloud in the enterprise," said Mickos. "Enterprises are demanding open source cloud solutions, and I'm thrilled to have this opportunity to grow the HP Helion portfolio and lead a world-class business that delivers private, hybrid, managed and public clouds to enterprise customers worldwide."
Martin Fink, who currently leads HP's Cloud business, will remain in his roles as chief technology officer of HP and director of HP Labs, where he will focus on innovation and creating groundbreaking solutions like The Machine. Fink will also continue to lead HP's Network Functions Virtualization (NFV) business.
"We've said before that we believe the future of the Cloud is open source, and this transaction underscores our deep commitment to helping customers build enterprise-class, open clouds their way," said Fink. "We've already seen significant momentum since launching HP Helion and have put in place an outstanding team. I'm confident that Marten, a fellow open source devotee, will continue to build out the HP Helion portfolio into the enterprise cloud offering of choice."
Since introducing HP Helion in May, HP has grown share in private cloud and was ranked as the leader in the Forrester Wave report for Private Cloud Solutions.(1) In addition, HP recently announced an agreement to build and operate community clouds for enterprise customers in China, one of the fastest growing cloud markets in the world, and also announced HP Helion OpenStack Professional Services to help enterprises implement OpenStack technology–based clouds. HP is the leading code contributor to the next release of OpenStack code, scheduled for October.
HP expects the acquisition to close in the fourth quarter of its fiscal year 2014. Terms of the deal were not disclosed.
(1) HP named The Leader in Forrester Wave™: Private Cloud Solutions, Q4 2013, Forrester Research, Inc. November 2013.
The OpenStack Word Mark is either a registered trademark/service mark or trademark/service mark of the OpenStack Foundation, in the United States and other countries and are used with the OpenStack Foundation's permission. We are not affiliated with, endorsed or sponsored by the OpenStack Foundation, or the OpenStack community.
This press release contains forward-looking statements that involve risks, uncertainties and assumptions. If such risks or uncertainties materialize or such assumptions prove incorrect, the results of HP and its consolidated subsidiaries could differ materially from those expressed or implied by such forward-looking statements and assumptions. All statements other than statements of historical fact are statements that could be deemed forward-looking statements, including but not limited to statements of the plans, strategies and objectives of management for future operations; any statements concerning expected development, performance, market share or competitive performance relating to products and services; any statements regarding anticipated operational and financial results; any statements of expectation or belief; and any statements of assumptions underlying any of the foregoing. Risks, uncertainties and assumptions include the need to address the many challenges facing HP's businesses; the competitive pressures faced by HP's businesses; risks associated with executing HP's strategy and plans for future operations and investments; the impact of macroeconomic and geopolitical trends and events; the need to manage third-party suppliers and the distribution of HP's products and services effectively; the protection of HP's intellectual property assets, including intellectual property licensed from third parties; risks associated with HP's international operations; the development and transition of new products and services and the enhancement of existing products and services to meet customer needs and respond to emerging technological trends; the execution and performance of contracts by HP and its suppliers, customers, clients and partners; the hiring and retention of key employees; integration and other risks associated with business combination and investment transactions; the execution, timing and results of restructuring plans, including estimates and assumptions related to the cost and the anticipated benefits of implementing those plans; the resolution of pending investigations, claims and disputes; and other risks that are described in HP's Quarterly Report on Form 10-Q for the fiscal quarter ended July 31, 2014, and that are otherwise described or updated from time to time in HP's Securities and Exchange Commission reports. HP assumes no obligation and does not intend to update these forward-looking statements.
© 2014 Hewlett-Packard Development Company, L.P. The information contained herein is subject to change without notice. The only warranties for HP products and services are set forth in the express warranty statements accompanying such products and services. Nothing herein should be construed as constituting an additional warranty. HP shall not be liable for technical or editorial errors or omissions contained herein.
Kate Holderness, HP
corpmediarelations@hp.com
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Equine professionals from all over have come to depend on our help in securing insurance for riding instructors, trainers and clinicians from a variety of disciplines. Whether you teach high level dressage or train hunter/jumper riders – we offer the best coverage for commercial equine liability in the country. Additionally, we work with many riding clubs, horse shows and associations throughout the region that horse owners interact with. We have long established relationships with the best companies such as American Reliable, Markel, American Equine and Acadia insurance companies. This gives us the leading edge in protection solutions for most equine professionals. Commercial Equine General Liability: This program provides coverage for professionals who conduct Equine-related business such as training, teaching, breeding, boarding and other horse-related activities. Care, Custody, or Control: This program is an endorsement to a general liability policy and provides additional coverage to those who board or train horses. Care, Custody, or Control will provide coverage in the event that non-owned horses are injured or killed due to the Insured's and/or the Insured's staff's negligence. Riding Clubs, Hunt Clubs: These programs provide third-party liability coverage to members of Riding and Hunt Clubs. This coverage offers protection for owned or leased premises, public events, and a variety of club functions. Horse Show Liability: These programs provide third-party liability coverage to members of Horse Show Organizations Farm Protection Packages: These programs are designed for stable owners who operate a professional equine facility as a business. It combines the protection afforded in Commercial Equine Liability with the exposure of owning property. Corinthian offers coverage for your property such as homes, barns, sheds, arenas, contents, owned machinery, equipment, tack and livestock. Additionally, the farm package offers liability protection for exposure both on and off the premises including boarding, breeding, training, racing, horse shows, riding clinics and riding lessons. Commercial Umbrella/Excess: This coverage provides additional liability to those who feel that a million dollars is not enough to protect their business and assets. Corinthian's Umbrella/Excess coverage can provide up to $5 Million dollars in additional liability protection above the primary Farm Package, Commercial Equine Liability, Business Automobile policies, and Worker's Compensation coverage.


Spending the last two days painting fabric with the grandgirls and trying out a couple of new techniques has been fun. But by the end of the day yesterday I was frazzled and needed to re-think some of my objectives. I have a lot and I mean a lot of new ideas in my head for purses, journals and art quilts. Yesterday I was getting myself confused on what my objective and priorities are.
So, today I'm going to spend it re-grouping and organize my thoughts and projects. This will be good. I have a busy month coming up with our daughter, her husband and their twins coming in town in two weeks, along with the SIL's family. Since they are going to be in town, we planned a family reunion for my husband's side of the family.


Sherpa's Restaurant is Boulder's source for fresh, authentic, high-quality Nepalese, Indian, and Tibetan food.
Our staff is full of Sherpas (people from the Mt. Everest region) including our chef: Jangbu Sherpa, who has summited Everest ten times without supplemental oxygen.
We make every meal to order so the food tastes fresh. Sherpa's features an authentic, charcoal fired, Tandoor clay oven.


text:
Q: Java: iterating through list of lists? The question but in C#. So does Java have C#'s command? I need it for Matches-SearchTerm-Files-relationship.
foreach(var i in BunchOfItems.SelectMany(k => k.Items)) {}

[Why not for-loops?]
I have done such structures in nested for loops but they soon become bloated. So I prefer something more succint like the above.
public static Stack<Integer[]> getPrintPoss(String s,File f,Integer maxViewPerF)
{
    Stack<File> possPrint = new Stack<File>();
    Integer[] poss = new Integer[4]();
    int u,size;
    for(File f:files)
    {
        size = f2S(f).length();
        u = Math.min(maxViewsPerF,size);
        for(int i=0; i<u;i++)
        {
           // Do something --- bloated, and soon out of control
           // wants more succintly

        }
    }
    return possPrint;
}

A: If you can get the data into an Iterable<Iterable<T>>, then you can get from that to a flattened Iterable<T> using Guava's Iterables.concat method.  If what you have is really an Iterable<S>, with some way to get from an S to an Iterable<T>, well, then you have to first use Iterables.transform to view that as the Iterable<Iterable<T>> needed by concat.
All this will look a lot nicer if and when Java has something resembling closures, but at least today it's possible.
http://guava-libraries.googlecode.com

A: With Java 8, you can say
Collection bunchOfItems = ...;
bunchOfItems.stream().flatMap(k::getItems).forEach(i -> /* operate on i */);

or
Item[] bunchOfItems = ...;
Stream.of(bunchOfItems).flatMap(k::getItems).forEach(i -> /* operate on i */);

depending upon whether you have a Collection or an Array.

A: for (List<Object> lo : list) {
    for (Object o : lo) {
        // etc etc
    }
}

I don't think there's a simpler solution.

A: I have my own version. Waiting desperately for Closures in Java :
public static <T, E> Iterable<T> transformMany(Iterable<E> iterable, Func<E, Iterable<T>> f) {
    if (null == iterable)
        throw new IllegalArgumentException("null iterable");
    if (null == f)
        throw new IllegalArgumentException("null f");

    return new TransformManyIterable<E, T>(iterable, f);
}

public interface Func<E, T> {
    T execute(E e);
}

public class TransformManyIterable<TOriginal, TResult> implements Iterable<TResult> {
    private Iterable<TOriginal> iterable;
    private Func<TOriginal, Iterable<TResult>> func;

    public TransformManyIterable(Iterable<TOriginal> iterable,
            Func<TOriginal, Iterable<TResult>> func) {
        super();
        this.iterable = iterable;
        this.func = func;
    }

    class TransformIterator implements Iterator<TResult> {
        private Iterator<TOriginal> iterator;
        private Iterator<TResult> currentIterator;

        public TransformIterator() {
            iterator = iterable.iterator();
        }

        @Override
        public boolean hasNext() {
            if (currentIterator != null && currentIterator.hasNext())
                return true;
            else {
                while (iterator.hasNext()) {
                    Iterable<TResult> iterable = func.execute(iterator.next());
                    if (iterable == null)
                        continue;
                    currentIterator = iterable.iterator();
                    if (currentIterator.hasNext())
                        return true;
                }
            }

            return false;
        }

        @Override
        public TResult next() {
            if (currentIterator != null && currentIterator.hasNext())
                return currentIterator.next();
            else {
                while (iterator.hasNext()) {
                    Iterable<TResult> iterable = func.execute(iterator.next());
                    if (iterable == null)
                        continue;
                    currentIterator = iterable.iterator();
                    if (currentIterator.hasNext())
                        return currentIterator.next();
                }
            }
            throw new NoSuchElementException();
        }

        @Override
        public void remove() {
            throw new UnsupportedOperationException();
        }
    }

    @Override
    public Iterator<TResult> iterator() {
        return new TransformIterator();
    }

}

Usage:
    Iterable<SomeType> result = transformMany(input, new Func<InputType, Iterable<SomeType>>() {
        @Override
        public Iterable<SomeType> execute(InputType e) {
            return new ArrayList<SomeType>();
        }
    });

A: The SelectMany method is part of LINQ which is .Net-specific. This question asks about a LINQ equilvalent for java. Unfortunately, it doesn't look like there is a direct equivalent.

A: Have about half a year patience until JDK7 is final which will include Closures. This provides simliar syntax and the same possibilities as LINQ which was demonstrated in the answer you're talking about.

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text:
Ludárov potok je potok v horním Liptově, v jižní část okresu Liptovský Mikuláš. Je to levostranný přítok Štiavnice, měří 4,7 km a je tokem IV. řádu. Teče územím NAPANTu, na horním toku územím NPR Ďumbier.

Pramen
Pramení v Nízkých Tatrách, v podcelku Ďumbierské Tatry na severovýchodním svahu vrchu Ďumbieru (2 043,4 m n. m.) v nadmořské výšce přibližně 1 590 m n. m.

Popis toku
Od pramene teče na sever, esovitě se stáčí, dále pokračuje severovýchodním směrem, zprava přibírá přítok z Matúšovských holí a zleva krátký přítok (1 341,8 m n. m.) z východojihovýchodného svahu Ludárovy hole (1 731,6 m n. m.). Následně vytváří Ludárovu dolinu, v její dolní části se esovitě stáčí dále teče na sever a na začátku Jánské doliny, jihovýchodně od myslivny Pred Bystrou se v nadmořské výšce cca 890 m n. m. vlévá do Štiavnice.

Reference

Potoky v Žilinském kraji
Vodstvo v okrese Liptovský Mikuláš
Povodí Váhu


text:
package org.apache.commons.compress.archivers.tar;

import java.io.IOException;

/**
 * This class represents a sparse entry in a Tar archive.
 *
 *

 * The C structure for a sparse entry is:
 *

 * struct posix_header {
 * struct sparse sp[21]; // TarConstants.SPARSELEN_GNU_SPARSE     - offset 0
 * char isextended;      // TarConstants.ISEXTENDEDLEN_GNU_SPARSE - offset 504
 * };
 *

 * Whereas, "struct sparse" is:
 *

 * struct sparse {
 * char offset[12];   // offset 0
 * char numbytes[12]; // offset 12
 * };
 *

 */

public class TarArchiveSparseEntry implements TarConstants {
    /** If an extension sparse header follows. */
    private boolean isExtended;

    /**
     * Construct an entry from an archive's header bytes. File is set
     * to null.
     *
     * @param headerBuf The header bytes from a tar archive entry.
     * @throws IOException on unknown format
     */
    public TarArchiveSparseEntry(byte[] headerBuf) throws IOException {
        int offset = 0;
        offset += SPARSELEN_GNU_SPARSE;
        isExtended = TarUtils.parseBoolean(headerBuf, offset);
    }

    public boolean isExtended() {
        return isExtended;
    }
}

redpajama_set_name: RedPajamaGithub


The earth was wasteland, empty. In the days before the Grand Coalition, energy-saving lamps and OLEDs; in fact, at a time when nothing was as overfilled, overloaded and overdone as it is today. And then God spoke, saying "Let there be light" There is something magical bout the fact that slight pressure on a touchscreen enables you to illuminate a room, dim all the lights or even activate the mood lighting in the garden, too. Irrespective of whether we need this, or even want it, which is simply a moot point. At any rate, the light-making industry at "Light + Building" is visibly endeavoring in the Frankfurt trade-fair halls to make certain the light everywhere was comfortable and energy-efficient, and that the medium which renders even the darkest night bright blended with the architecture to set as atmospheric an ambience as possible. Thus, the light flooded, glittered and dripped from casings that were all ingeniously designed, the crystals dazzling, with entire walls and ceilings dipped in different shimmering colors, as if by an invisible hand. Without doubt, the debates on energy efficiency and CO2 emissions and on developing new, sparing and aesthetically appealing lighting technologies have given the sector a real boost. That is to be felt everywhere you turn at the fair. And the designers are doing their utmost to brush away the somber mood of the past from the last of the lamp stores. The age of the light bulb is truly over. The future relies on fluorescent bulbs, LEDs and soon on OLEDs, light can be easily controlled and anyone can use it with great precision for any number of conceivable applications. The face of the brave new lighting world in 2008 can be viewed in the trend niches that stilbüro bora.herke has dreamed up. The scouts believe they have identified four different "personal styles" in today's lamp-land: The one is the "sober mind" fully in high-end trend white; then there's the "boldly modern", a strident urban bedroom, in whose skyscraper-wallpapered "forward power" the luminaires disappear; from the dark refined gleam of "seductive glamour" to the eco-assembly of "vegetal technology", with roofing boards banged together somewhat too smoothly and combined with a heavy leather armchair. For all the upside to trying to view the big picture, but after the end of all styles one could create a quite different collage on the luminaire's contingent present. The insistent identification of trends does not entail such collaging, and the overly artificial paradises (and they are a far cry from reality) unfortunately lack any irony. But then that is provided once again by Ingo Maurer, playfully, narratively and with a lot of fun: His evocation of "Alizzcooper", a veritable snake-lamp made of a black rubber gardening hose-pipe with a poisonously yellow wave along its back. Here there is less meditation on the Fall and more a focus on the future - for example with the phoenix-like lighting object "Early Future" made of rectangular OLEDs straight from the Osram labs. As a "Flying Future", the gleaming diodes form a high-tech variation on the flying carpet of yore, trashing all things kitsch-Oriental in the process. Indeed, old master Maurer once again manages to inject a few cheekily up-tempo ideas into the technoid light boredom in the year of the ubiquitous (and ever larger) semi-spheres, cylindrical panes and rectangular LED cartons. Naoto Fukasawa is a bright mind, who not only developed many pleasantly unpretentious and useful objects for Muji for many years, but like Jasper Morrison addresses the question of when something becomes more than just normal, i.e., "super normal". In conversation, he says that what counts today is not the new, but the better. As there have long since been enough objects, he suggests. "Leia" is the name of his small family of luminaires created for Belux. With a restrained and precise use of design: For example when an opaque, softly glowing double cylinder stretches upwards and the light radiates over the ceiling as if it were exceeding its links to matter. In the case of the smaller version and the table lamp, the shade can be tilted to one side at a single touch, whereupon a built-in halogen spot delivers reading light, too. "Good things," Fukasawa says, who conceives of his luminaires in terms of the user's interaction with the object, "do not catch they eye. If you reach for a beaker to drink you do not think of the beaker, but of what you are going to drink." It would seem obvious that a modest presence is essentially a rarity in trade-fair halls. Here, there is nothing that does not exist, from the huge candelabras for noble banquets to pearled light cascades of chains of rhinestones, from illuminated paving stones to something that looks like a bell and surprisingly goes by the name of "Caravaggio". And what we feared would happen has happened: with a nod to Damien Hirst and his diamond-covered hundred million skull, Fabien Baron has created a small noble skull for the glitter empire of Swarovski: Vanitas in the living room, optionally bright or dark. And with all the chrome-sleek super-kitsch from Rashid through to Murano and all the liqueur-like color/wall/ceiling/illuination/systems one might be forgiven hoping that the future will only belong to the Japanese. Yet, as we all know, there's no accounting for taste. One thing is for sure: There was light! Or should I not say, if I were to follow the approach of super-smart Vienneses cybernetics aficionado Heinz von Foerster: And there was sight?!


Starting an Interior Design Business.
The Business of Interior Design (N. Lewis).
Marketing Interior Design Services (R. Brandt).
Accounting for Interior Designers (J. Beck).
Professional Liability Insurance for Designers (J. Monteleone & B. Eisler).
Purchasing Furniture and Selecting Products.
New Areas of Concern for Interior Designers.


S. Gibson singled to third base; C. Zoeller advanced to second.
K. Kerr singled to center field, RBI; S. Gibson advanced to second; C. Zoeller scored.
L. Kuerzi singled to left field, RBI; H. Tierce advanced to second; K. Kerr advanced to third; S. Gibson scored.
T. Robertson singled to center field, 2 RBI; L. Kuerzi advanced to second; H. Tierce scored; K. Kerr scored.
A. Murdock singled to left field, RBI; T. Robertson advanced to second; L. Kuerzi scored.
C. Zoeller doubled to center field, 2 RBI; A. Murdock scored; T. Robertson scored.
S. Gibson doubled to center field, RBI; C. Zoeller scored.
K. Evans singled, bunt; M. Harris advanced to second.
L. Tucker doubled to center field, 2 RBI; K. Evans scored; M. Harris scored.
A. McGowan doubled to right field, RBI; L. Tucker scored.
J. Norman singled to center field, RBI; A. McGowan scored.
H. Tierce advanced to second on a passed ball.
T. Robertson singled to left field; H. Tierce advanced to third.
M. Messer to p for H. Dickerson.
L. Tucker singled to right field.
K. Evans singled to left field.
L. Tucker singled to right field; K. Evans advanced to second.
A. McGowan doubled to center field.
J. Norman grounded out to 2b, RBI; A. McGowan scored.
M. Harris singled to left field.
L. Tucker singled to center field; M. Harris advanced to second.
M. Shepherd pinch hit for J. Stewart.
J. Norman singled to center field.
M. Graham pinch hit for K. Davis.


text:
Newsletter | Donation
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News published by the Pressenza bureau in Rio de Janeiro, Brazil
COP26 from "Bla Bla Bla" to a Global Eco Civil Rights Movement
01.12.21 Redação Rio de Janeiro
By Alejandro JARA WEITZMANN Dear friends, dear all, For two weeks we have been immersed in one of the most delicate forums for the future of mankind, vibrating with glimpses of hope but also danger along the road of complex…
Indigenous People are heading to COP26: "There is no solution to the climate crisis, without us"
Indigenous movement mobilized the largest delegation of Brazilian leaders in the history of the climate conference to put forward the demarcation of indigenous lands as a solution The Articulation of the Indigenous Peoples of Brazil (Apib), together with all its…
"Old" and "new" challenges to Brazilian citizenship
In Brazil, the interests of large estates have driven the state's agenda of priorities for many centuries. These include the maintenance of slavery until the end of the 19th century, the absence of labour rights in the countryside for most…
Families start urban occupation in search of new horizons in Campos
Within the coronavirus pandemic and a progressive reduction in social investments at the municipal, state and national levels, hundreds of families begin the largest urban occupation reported in the recent history of the municipality of Campos dos Goytacazes, the largest…
No to the privatization of the Brazilian Central Bank
By Marcos Arruda* Why have a Central Bank? Central banks are by nature public because they formulate and administer the MONETARY POLICY. And the objective of this policy is, by nature, investment in the "real economy", i.e. the part of…
Public letter: everything is interconnected as if we were one in this common house
2020 National Seminar — Forum on Climate Change and Social-Environmental Justice Public letter We, the participants of the 2020 National Seminar – Forum on Climate Change and Socio-Environmental Justice, gathered virtually from December 1st to 4th, 2020. We are representatives…
In Brumadinho, candidates need to overcome disbelief and tragedy
By Marcelo Z Carota* Right in the path of the biggest dam breach accident in Brazil, this little town was devastated by a tragedy that claimed many lives among the local population. According to a report by the UN Environment…
The Amazon Rainforest Asks for Help!
By Daniel Bruno Vasconcelos and Jennifer Terriaga September 5th is the Amazon Rainforest Day, but we have nothing to celebrate on this very remarkable date. The current president of Brazil Jair Bolsonaro is ruining with the greatest natural wealth of…
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New satellite images have revealed that Russian President Vladimir Putin is secretly preparing his country for war.
The summit in Helsinki, Finland, on July 16 between Presidents Donald Trump and Putin offers an unprecedented opportunity to de-escalate tensions between the United States and Russia.
Several reports have detailed a disturbing new trend of Moscow's rapid modernization efforts to improve its westernmost military facilities in Kaliningrad ahead of the summit.
The area is a strategic enclave of Russian territory located between Poland and the Baltics.
Zero Hedge reports: Last month, the Federation of American Scientists (FAS) published satellite images revealing significant upgrades to a nuclear weapons storage bunker situated at a secret facility in Kaliningrad.
"It has all the fingerprints of typical Russian nuclear weapons storage sites," Hans Kristensen, the director of the Nuclear Information Project at Federation of American Scientists (FAS), said in a report.
"There is a heavy-duty external perimeter of multilayered fencing. The bunkers themselves have triple fencing around them as well.
"These are typical features from all the other nuclear weapons storage sites that we know about in Russia," Kristensen explained.
This comes at a time when Moscow expressed its concern over the North Atlantic Treaty Organization's (NATO) military infrastructure expansion near the Poland–Kaliningrad border.
On May 28, Kremlin Spokesman Dmitry Peskov declared that Russia is prepared to take appropriate measures in response.
That statement was a reaction to the Pentagon debuting plans to build a permanent military base in Poland.
NATO forces have surrounded Kaliningrad, as it seems Moscow is in the final stages of installing and upgrading military structures and other bunker improvements in this strategic slice of territory in the heart of NATO-allied eastern Europe.
Moscow knows its fate with NATO, and that is why it is preparing for war.
Now, there is more evidence that Russia has been constructing even more structures and bunkers 8 miles away from the nuclear bunker facility that FAS reported last month.
The new report, by an American private Earth-imaging company Planet Labs and Defense One, shows significant changes around a bunker facility in Baltiysk, near the Polish border.
Matt Hall, a senior geospatial analyst at 3GIMBALS, a firm that provides human-machine integrated location-based analytics, told Defense One that the facilities in the satellite images (below) are used to store artillery.
"The visible change between the two images provided appears to be the fortification of buildings, characteristic of explosive storage bunkers, utilizing earthen berms to further insulate these structures.
"There also appears to be clearings, new structures visible within the the forested portion of the installation, as well as a berm and exterior fence surrounding the installation," said Hall.
The unforested regions include explosive ordinance bunkers, he said.
"Every structure in the northern non-forested sector have been reinforced during the three month period of the imagery," he said.
"In the forested sector, a different type of storage facility exists, some of which are bermed and appear to be leveled off.
"There appears to be additional uncovered storage, some with berms but not heavily fortified.
"In this area, some of the structures have changed, potentially showing roofing structures or tarps that have since been removed to reveal caches of items.
"Some of the berms appear to be more extensive, but the foliage in the second imagery may obscure this analysis.
"Additionally, there appear to be new or redistributed items — potentially identifiable as shipping containers," said Hall.
Hall also identified a railroad line in the satellite images.
It connects to the broader national system, which runs to and through Lithuania.
Defense One said Russia constructed a similar line in the Georgian province of Abkhazia before invading that country in 2008.
Defense One asked National Geospatial-Intelligence Agency officials about the recent activity in Kaliningrad.
They replied with no comment because such information is deemed classified.
Russia has been adding troops since 2015 to the region, which is the home base of Russia's 11 Army Corps and the headquarters of the Russian Baltic Fleet.
There is only one reason why Russia would be quickly fortifying various military facilities and upgrading nuclear storage bunkers in Kaliningrad: Moscow sees war on the horizon.


text:
| cancer@holyname.org
The prostate is a walnut-sized gland that sits below the bladder and surrounds the urethra, the tube that runs from the bladder to the outside of the body. The prostate is part of the male reproductive system and creates fluid that makes up part of the semen.
Prostate cancer is the second most common form of cancer in men, after skin cancer. About 233,000 new cases, or one in five men, are diagnosed with this disease each year.
There are typically no symptoms of prostate cancer in its early stages.
Once the disease has advanced, men may experience the following:
Frequent or sudden urge to urinate, or a weak or interrupted flow of urine.
Trouble starting to urinate or difficulty emptying the bladder completely.
Pain or burning while urinating.
Blood in the urine or semen.
Pain in the back, hips, or pelvis that doesn't stop.
Shortness of breath, fatigue, fast heartbeat, dizziness, or pale skin.
Prostate cancer typically develops in older men; almost 70 percent of those diagnosed are over 65. It rarely occurs in men under 40.
Men with a family history of the disease, specifically a father or brother, are twice as likely to develop prostate cancer.
African American men have a 60 percent higher chance of getting the disease and twice as likely to die from it.
Obese men, those with a body mass index over 32.5, are 33 percent more likely to die from prostate cancer.
Prostate-specific antigen (PSA)
Is a substance made by the prostate. It is typically found in increased levels when prostate cancer develops and a blood test can determine if the level is elevated. But other conditions such as an enlarged or inflamed prostate can also raise the level so further testing will be needed.
A digital rectal exam (DRE)
Allows a physician to feel for lumps or abnormal areas in the prostate through the rectum.
AA transrectal ultrasound
Is used when a biopsy is needed, to help guide where samples of tissues should be taken. The procedure involves inserting a probe about the size of a finger into the rectum to bounce high-energy sound waves off internal tissues to make echoes. These echoes form a sonogram, which is reviewed by an urologist to determine where a needle should remove tissue for sampling.
During a biopsy, about 12 to 14 tissue samples are removed with a thin needle inserted into the prostate. The patient may either be put under anesthesia or receive a local numbing medication prior to the procedure and the ultrasound is used to ensure all suspected abnormalities are sampled. Prostate biopsies are typically performed on an outpatient basis.
MRI for Diagnosis of Prostate Cancer
One of the most difficult aspects in treating prostate cancer is getting accurate biopsies that indicate the stage and location of cancer cells. To assist in pinpointing the precise location for a biopsy, Holy Name's board-certified radiologists often use multiparametric Magnetic Resonance Imaging (MRI). This technology also helps stage the cancer and determine if the tumor is confined to the prostate gland or if it has spread, all valuable information for designing treatment plans.
The type of treatment used to fight prostate cancer depends on a number of factors, including the age of the patient, how aggressive the tumor is and if the cancer has spread outside the prostate. Among the options are active surveillance, radiation, surgery, chemotherapy, and hormone therapy.
Active Surveillance
Emerging data shows that some men with early stage prostate cancer may undergo active surveillance, a process of close observation without treatment. In certain low-risk patients, active surveillance has been shown to be just as effective and provide a better quality of life than either radiation or surgery.
Patients are considered low risk based on their Gleason score, a standard measure of the aggressiveness of the cancer cells obtained from a prostate biopsy. Patients with a low Gleason score - six or less - have prostate cancer cells that closely resemble normal prostate tissue. The likelihood of this type of cancer spreading beyond the prostate is extremely low. Patients that are also considered in a low risk group include those men with a small volume of low-grade cancer in the biopsy sample.
Radiation therapy is used to treat all stages of prostate cancer. It can be used alone or in conjunction with other treatments. It is frequently combined with surgery if the cancer is aggressive, has spread or recurred.
Radiation therapy can be delivered via external or internal methods. These two methods may occasionally be combined very effectively.
External radiation therapy (EBRT) uses a machine outside the body to target radiation beams at the cancer. A highly sophisticated technology, known as intensity-modulated radiation therapy (IMRT), combined with a hands-on delivery technique, known as image-guided radiation therapy (IGRT) uses real-time imaging to ensure that the radiation beams are sculpted to the contours of the tumor, while avoiding unnecessary radiation going to normal healthy body organs. Multiple, dynamically shaped beams are directed at the prostate from different directions to achieve the desired effect. Treatment is typically given five days a week for nine weeks.
Internal radiation therapy also known as brachytherapy, involves putting radiation directly into the tumor. High-dose-rate brachytherapy delivers high doses of radiation through catheters inserted in or near the tumor. A wire containing a radiation pellet or "source" at its tip is fed through the catheters into the prostate. This wire is connected to a machine that is computer-controlled to determine exactly where and for how long the radiation source should pause to release its radiation. Each treatment-delivery procedure typically takes several minutes. Occasionally, a second treatment is given the following day, which would then require an overnight hospital stay.
Learn more about brachytherapy
Radiation therapy may cause impotence, incontinence, and fatigue, which is usually temporary. It also may pose a slight eventual risk of bladder and gastrointestinal cancer.
A radical prostatectomy is the surgical removal of the prostate gland and seminal vesicles, the pair of tube-like glands found behind the bladder that make up about 70 percent of the seminal fluid. Often, regional lymph nodes are also taken out.
A radical prostatectomy is frequently done when cancer has not spread outside the prostate. It is usually done as a robotic-assisted laparoscopic procedure as opposed to an "open" surgery and is known for reduced pain, less blood loss and often its nerve-sparing technique that helps prevent long-term side effects such as incontinence and erectile dysfunction.
The surgeon makes several small incisions, less than 1 cm, in the lower abdomen using lighted, magnified scopes and a camera. The prostate, seminal vesicles and lymph nodes are removed in a small bag through an incision made in the navel, which is enlarged to about 2 or 3 cm.
Two small bundles of nerves located on both sides of the prostate control erections and if cancer is not growing into or very near these bundles, they are spared during the procedure.
A radical prostatectomy usually requires only an overnight hospital stay. Drains that have been put in place during the surgery will be removed prior to discharge from the hospital.
A catheter also inserted during surgery to drain urine from the bladder into a bag is removed in a physician's office between five and six days following discharge from the hospital. Clips or staples used to close the incisions are removed at the same time as the catheter.
One of the major side effects that may occur from a prostatectomy is urinary incontinence.
Urinary incontinence, typically in the form of stress incontinence - when the patient coughs, laughs, sneezes or exercises - is the most common side effect of a prostatectomy. It is typically a result of damage to the sphincter, the muscle that keeps urine in the bladder, or the nerves that control this muscle. Often, the condition is not permanent and normal bladder activity can return immediately or as long as three months after surgery.
Erectile dysfunction (ED) is also a side effect that may occur after a radical prostatectomy. Other factors may affect whether a patient experiences ED after surgery, including whether there were ED problems prior to the radical prostatectomy, such as those caused by diabetes and hypertension. Older men are typically affected by ED much more than younger ones. But the ability to have erections after surgery often returns, slowly, sometimes taking as long as two years.
If potency is intact the patient should still be able to have an orgasm, though it will be dry because there is no ejaculation of semen since the prostate and seminal vesicles have been removed.
In treating prostate cancer, hormone therapy is used to decrease testosterone production in the testicles. Testosterone helps cancer cells grow so preventing its production causes these cells to die or grow more slowly.
Hormone therapy doesn't cure prostate cancer but it can put the disease in a dormant stage, thereby slowing the progress of the illness for months or years.
When it is used
Hormone therapy is often prescribed for metastatic or recurring prostate cancer.
It is sometimes used in combination with external radiation, making that treatment more effective in men with locally advanced cancer.
Hormone therapy may also be prescribed intermittently, stopped once the PSA levels are undetectable and the cancer is under control. It can then be used again if the disease progresses or recurs.
The medication is injected under the skin into a muscle once a month or every three or six months.
Side effects include hot flashes, fatigue, osteoporosis or weakened bones, erectile dysfunction and loss of muscle mass. It may occasionally cause the growth of breast tissue. The longer medication is taken, the higher the risk of side effects.
Chemotherapy is only used for prostate cancer when the disease has spread or if it doesn't respond to other treatments, including hormone therapy.
Cryosurgery is a procedure that freezes and destroys cancer cells. It is used when the cancer has not spread beyond the prostate.
Physicians use ultrasound to find the cancer cells and then a hollow tube is inserted into the tumor. Liquid nitrogen or argon gas is pushed through the tube, which forms ice crystals on the edge and freezes nearby cells. When the frozen tissue thaws it is naturally absorbed by the body.
Cryosurgery may obstruct urine flow or cause incontinence and impotence.
Stages of Prostate Cancer
The process used to see whether cancer has spread within or outside the prostate to the blood and other tissues or organs is called clinical staging. The stage of the cancer dictates the treatment plan.
In addition to determining if cancer has spread beyond the gland, prostate cancer is also staged using a patient's PSA and his Gleason score. A Gleason score is a grade assigned to the cancer cells based on how the abnormal cells are organized in the tissue. The closer the cancer cells resemble normal cells, the lower the grade. Since cells vary widely, most tumors have more than one cancer grade. Pathologists assign the tumor two grades and then add those numbers together to get a Gleason score between 6 and 10.
Cancer is found only in the prostate, specifically in only one area. It is usually detected through a needle biopsy or during surgery for benign diseases. It cannot be felt by a digital rectal exam or by imaging screenings. The PSA is lower than 10 and the Gleason score is six or lower.
The cancer is still only within the prostate and can't be felt in a rectal exam but it is more advanced. Stage 2 is typically divided between 2A and 2B, differentiated by the number of cancer cells and the parts of the prostate affected. The Gleason score is usually seven or lower.
The cancer has spread beyond the prostate and may be in the seminal vesicles. The PSA and Gleason scores can be at any level.
The cancer has spread beyond the prostate and seminal vesicles to other tissues, lymph nodes, or bones.
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text:
require 'rails/generators/mongoid_generator'

module Mongoid
  module Generators
    class ConfigGenerator < Rails::Generators::Base
      desc "Creates a Mongoid configuration file at config/mongoid.yml"

      argument :database_name, type: :string, optional: true

      def self.source_root
        @_mongoid_source_root ||= File.expand_path("../templates", __FILE__)
      end

      def app_name
        Rails::Application.subclasses.first.parent.to_s.underscore
      end

      def create_config_file
        template 'mongoid.yml', File.join('config', "mongoid.yml")
      end

    end
  end
end


St Stephen's Café Church was opened on 4th December 1929 as St Stephen's Church, and is part of the Broadwater Parish team. The services are run in a 'party church' style – a relaxed, interactive, and accessible. The Team Vicar at St Stephen's Café Church is Gary Neal and they also have a Family & Community Pastor on staff.
For more information visit St Stephen's Café Church's website.
Queen Street Church, part of the Broadwater Parish team, is a lively, informal, family-friendly church that meets every Sunday morning at 10 am. The church met in an old mission hall in 1989 and grew rapidly. In 1994 the old hall was demolished and a new church building was built for the congregation and is also used to serve the local community.
For more information visit Queen Street Church's website.
The Worthing Chinese Christian Fellowship (WCCF) have been meeting since 2005 and have grown to around 50 members. Sunday worship is held every second and fourth Sunday of the month, which includes a bring and share lunch. The services are led bilingually. There are also mid-week meetings including Parent & Toddler Group, 50+ Energetic Café, Home Group, and Bible Study. The WCCF is led by Gary & Tella Butler.
For more information visit WCCF website.


What is the capital of India..???? Maharashtra ….. If you hear this you are definitely with a die hard and uncompromising Maharashtrian guy. Being Indian's video will show you right from the devotion towards Shivaji to love towards the "Vada Pav".
Watch this and share your comments below.


Its sad they didn't use the best colored version for this set.
The blue (elite) one looks so bad imo and doesnt fit at all, while the red/green set was pure awesomeness.
The purple set isnt that bed tho.
Looks alot better on male characters imo.
Picked this helm up tonight for my alt BE female rogue. It's so incredibly ugly that I've transmogged every other helm that I own with this model. I normally only show Engi goggles and hide other helms, this one matches the shoulders perfectly and was very well done. Get one for yourself when you can, totally worth it.
WTB closed helm option on female characters.
"Let this be our final battle!"


NMB48 will hold a Kinki tour called 'NMB48 Kinki Juuban Shoubu 2019' from March to April.
It's been about seven years since the group last toured the Kinki Region. They are scheduled to hold seven shows in Osaka, one in Wakayama, and two in Hyogo. The members will be performing with their new teams as the team shuffle will be effective as of March.


text:
Q: How do I share a sqlite database between a Xamarin app and Java Android app As the title says I am wanting to share a Sqlite database between an Android app written in Java and one written in C# using Xamarin. I can successfully share a database between two Java apps (With the help of this question) but when I try the same thing in Xamarin I am getting the following error:
Android.Database.Sqlite.SQLiteCantOpenDatabaseException: unknown error (code 14): Could not open database

I think I have two problems.

*

*I am not correctly setting the Shared UserId. Currently I am placing the following attribute above my main activity.
[Register("my.user.id")]
I tried using the android:sharedUserId="my.user.id" in the Manifest file but that was throwing errors and wouldn't deploy to my device.

*I don't know how the whole signing of the app works. So maybe my device sees the two apps as coming from a different publisher for each device and is not allowing the two to share context.
EDIT :
Just wanted to add how I signed both applications with the same certificate for future refrence.
The Android cert is noramlly "C:\Users\userName\.android\debug.keystore" and the Xamarin cert is noramlly in "C:\Users\userName\AppData\Local\Xamarin\Mono for Android\debug.keystore". I built the Xamarin app first so I copied the debug.keystore file from the xamarin folder to the android one. (I'm sure it would work the other way around but haven't tested it)

A: Xamarin.Android does not support SharedUserId via an ApplicationAttribute. (I guess no one every filed an issue about it)
Ref: Android.App.ApplicationAttribute
Add your shared user id via the manifest and it will work fine:
Example:
<application android:allowBackup="true" android:sharedUserId="com.sushihangover" android:icon="@mipmap/icon" android:label="@string/app_name"></application>

Note: Make sure that you manually uninstall both apps, add the sharedUserId, rebuild and reinstall both apps.
Note: Make sure that you are using the same signing certificate for both your Java and Xamarin apps.


text:
// Copyright (c) 2012 The Chromium Authors. All rights reserved.
// Use of this source code is governed by a BSD-style license that can be
// found in the LICENSE file.

if (!loadTimeData.getBoolean('newContentSettings')) {

cr.define('options', function() {
  /** @const */ var OptionsPage = options.OptionsPage;

  //////////////////////////////////////////////////////////////////////////////
  // ContentSettings class:

  /**
   * Encapsulated handling of content settings page.
   * @constructor
   */
  function ContentSettings() {
    this.activeNavTab = null;
    OptionsPage.call(this, 'content',
                     loadTimeData.getString('contentSettingsPageTabTitle'),
                     'content-settings-page');
  }

  cr.addSingletonGetter(ContentSettings);

  ContentSettings.prototype = {
    __proto__: OptionsPage.prototype,

    initializePage: function() {
      OptionsPage.prototype.initializePage.call(this);

      var exceptionsButtons =
          this.pageDiv.querySelectorAll('.exceptions-list-button');
      for (var i = 0; i < exceptionsButtons.length; i++) {
        exceptionsButtons[i].onclick = function(event) {
          var page = ContentSettingsExceptionsArea.getInstance();

          // Add on the proper hash for the content type, and store that in the
          // history so back/forward and tab restore works.
          var hash = event.currentTarget.getAttribute('contentType');
          var url = page.name + '#' + hash;
          window.history.pushState({pageName: page.name},
                                    page.title,
                                    '/' + url);

          // Navigate after the history has been replaced in order to have the
          // correct hash loaded.
          OptionsPage.showPageByName('contentExceptions', false);

          uber.invokeMethodOnParent('setPath', {path: url});
          uber.invokeMethodOnParent('setTitle',
              {title: loadTimeData.getString(hash + 'TabTitle')});
        };
      }

      var manageHandlersButton = $('manage-handlers-button');
      if (manageHandlersButton) {
        manageHandlersButton.onclick = function(event) {
          OptionsPage.navigateToPage('handlers');
        };
      }

      $('manage-galleries-button').onclick = function(event) {
        OptionsPage.navigateToPage('manageGalleries');
      };

      if (cr.isChromeOS)
        UIAccountTweaks.applyGuestModeVisibility(document);

      // Cookies filter page ---------------------------------------------------
      $('show-cookies-button').onclick = function(event) {
        chrome.send('coreOptionsUserMetricsAction', ['Options_ShowCookies']);
        OptionsPage.navigateToPage('cookies');
      };

      $('content-settings-overlay-confirm').onclick =
          OptionsPage.closeOverlay.bind(OptionsPage);

      $('media-pepper-flash-default').hidden = true;
      $('media-pepper-flash-exceptions').hidden = true;

      $('media-select-mic').addEventListener('change',
          ContentSettings.setDefaultMicrophone_);
      $('media-select-camera').addEventListener('change',
          ContentSettings.setDefaultCamera_);
    },
  };

  ContentSettings.updateHandlersEnabledRadios = function(enabled) {
    var selector = '#content-settings-page input[type=radio][value=' +
        (enabled ? 'allow' : 'block') + '].handler-radio';
    document.querySelector(selector).checked = true;
  };

  /**
   * Sets the values for all the content settings radios.
   * @param {Object} dict A mapping from radio groups to the checked value for
   *     that group.
   */
  ContentSettings.setContentFilterSettingsValue = function(dict) {
    for (var group in dict) {
      var managedBy = dict[group].managedBy;
      var controlledBy = managedBy == 'policy' || managedBy == 'extension' ?
          managedBy : null;
      document.querySelector('input[type=radio][name=' + group + '][value=' +
                             dict[group].value + ']').checked = true;
      var radios = document.querySelectorAll('input[type=radio][name=' +
                                             group + ']');
      for (var i = 0, len = radios.length; i < len; i++) {
        radios[i].disabled = (managedBy != 'default');
        radios[i].controlledBy = controlledBy;
      }
      var indicators = document.querySelectorAll(
          'span.controlled-setting-indicator[content-setting=' + group + ']');
      if (indicators.length == 0)
        continue;
      // Create a synthetic pref change event decorated as
      // CoreOptionsHandler::CreateValueForPref() does.
      var event = new Event(group);
      event.value = {
        value: dict[group].value,
        controlledBy: controlledBy,
      };
      for (var i = 0; i < indicators.length; i++)
        indicators[i].handlePrefChange(event);
    }
  };

  /**
   * Updates the labels and indicators for the Media settings. Those require
   * special handling because they are backed by multiple prefs and can change
   * their scope based on the managed state of the backing prefs.
   * @param {Object} mediaSettings A dictionary containing the following fields:
   *     {String} askText The label for the ask radio button.
   *     {String} blockText The label for the block radio button.
   *     {Boolean} cameraDisabled Whether to disable the camera dropdown.
   *     {Boolean} micDisabled Whether to disable the microphone dropdown.
   *     {Boolean} showBubble Wether to show the managed icon and bubble for the
   *         media label.
   *     {String} bubbleText The text to use inside the bubble if it is shown.
   */
  ContentSettings.updateMediaUI = function(mediaSettings) {
    $('media-stream-ask-label').innerHTML =
        loadTimeData.getString(mediaSettings.askText);
    $('media-stream-block-label').innerHTML =
        loadTimeData.getString(mediaSettings.blockText);

    if (mediaSettings.micDisabled)
      $('media-select-mic').disabled = true;
    if (mediaSettings.cameraDisabled)
      $('media-select-camera').disabled = true;

    OptionsPage.hideBubble();
    // Create a synthetic pref change event decorated as
    // CoreOptionsHandler::CreateValueForPref() does.
    // TODO(arv): It was not clear what event type this should use?
    var event = new Event('undefined');
    event.value = {};

    if (mediaSettings.showBubble) {
      event.value = { controlledBy: 'policy' };
      $('media-indicator').setAttribute(
          'textpolicy', loadTimeData.getString(mediaSettings.bubbleText));
      $('media-indicator').location = cr.ui.ArrowLocation.TOP_START;
    }

    $('media-indicator').handlePrefChange(event);
  };

  /**
   * Initializes an exceptions list.
   * @param {string} type The content type that we are setting exceptions for.
   * @param {Array} list An array of pairs, where the first element of each pair
   *     is the filter string, and the second is the setting (allow/block).
   */
  ContentSettings.setExceptions = function(type, list) {
    var exceptionsList =
        document.querySelector('div[contentType=' + type + ']' +
                               ' list[mode=normal]');
    exceptionsList.setExceptions(list);
  };

  ContentSettings.setHandlers = function(list) {
    $('handlers-list').setHandlers(list);
  };

  ContentSettings.setIgnoredHandlers = function(list) {
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A Deer and her Fawn were trapped on thin ice covering a harbor in Canada, and the rescue effort looked grim until a helicopter pilot got creative.
The deer had fallen into the ice, and was exhausted from the effort to get back onto the surface. When it came time to try and walk off the frozen water, neither mom or baby were able to move.
The rescue team couldn't go out on the ice, and lowering a harness wouldn't work because the struggling deer would have probably just broken through the ice again.
That's when creativity stepped in to save the day, and a skilled helicopter pilot helped both mom and baby to safety.


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text:
Fury wants to make comeback on July 8
Sunday May 07 2017, 12.00pm, The Sunday Times
Fury must also convince the British Boxing Board of Control that he deserves to win back his boxing licence
PATRICK STORZER/AFP
Tyson Fury will target a comeback bout on July 8, provided he overturns a suspended drugs ban at a UK Anti-Doping hearing on Monday.
Fury has not fought since beating Wladimir Klitschko for the world heavyweight titles in November 2015, due to a combination of drug issues and mental health concerns.
But in the wake of Anthony Joshua's stunning Wembley win over Klitschko, Fury has returned to training and is intent on securing an all-British super-fight with the new champion.
Fury's camp are confident they can avoid further sanction from UKAD, which banned him over a positive test for nandrolone in June last year, only to suspend the sanction pending an appeal and further investigations.
But Fury must also convince the British Boxing Board of


Serge's team in Bundibugyo, Uganda is in need of a Mentor to Church Pastors and Planters. If you are interested, please fill out a Go Form (www.serge.org/go). If you know someone who is interested, please send them our way!
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text:
Q: Display a right-click menu using a shell script Is it possible to display a right-click menu using a shell script (or some kind of Unix command?) I'm trying to find a program that can be used to display a context menu at a specific location on the screen.
For example, it would be useful to display the desktop right-click context menu programmatically (the one that appears when right-clicking on a file.) This would require some method of launching the desktop right-click menu from the command line.

A: You can do this using xdotool, see the MOUSE COMMANDS section of the manual, specifically the click argument.


text:
Q: Stack overflow when formatting a slice I've a simple implementation of the std::fmt::Display trait. The error I get running it:
thread 'main' has overflowed its stack
fatal runtime error: stack overflow
[1]    1015774 abort (core dumped)  vismut init

There's probably something obvious wrong with it but I've never seen an error like that with code like this so I'm a bit confused.
Link to Rust Playground with the code below.
use std::fmt::{Formatter, Display};

pub enum MyOptions {
    First,
    Second,
    Third,
}

impl Display for MyOptions {
    fn fmt(&self, f: &mut Formatter) -> std::fmt::Result {
        write!(f, "{}", &self.to_string()[1..])
    }
}

fn main() {
    assert!(format!("{}", MyOptions::First).eq("irst"))
}

A: to_string's default implementation is based on the Display trait.
This means here that the fmt function calls itself. This makes the call stack explode.
The simplest solution here would be to explicitly match on variants in your implementation:
impl Display for MyOptions {
    fn fmt(&self, f: &mut Formatter) -> std::fmt::Result {
        match self {
            Self::First => write!(f, "irst"),
            Self::Second => write!(f, "econd"),
            Self::Third => write!(f, "hird"),
        }
    }
}


text:
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EDUCATION: University of Washington, BA
Broadshore
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We are familiar with the medical opinion that a daily glass of wine is good for the health and also the rival opinion that any more than a glass or two will set us on the road to ruin. Whether or not good for the body, Scrtuton argues, wine, drunk in the right frame of mind, is definitely good for the soul. And there is no better accompaniment to wine than philosophy., By thinking with wine, you can learn not only to drink in thoughts but to think in draughts. In vino veritas.
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text:
The Theatre of the Direct Market
In the great play, the play of the world, the one I always return to, all emotional souls occupy the stage, whereas all creative people sit in the orchestra. The first are called mad (alienated); the second ones, who depict their follies, are called sages (philosophers). The eye of the sage is the one which lays bare the follies of various figures on the stage. — Denis Diderot
In light of DC's New 52 relaunch, with its selective erasure of 30 years of Direct Market convolution, I want to once again look at comics history through the industry's material processes. Last time, if you recall, we looked at the conditions and hypothetical emancipation of the 1960s comic book industry worker. Bright-eyed Fordist optimism gave way to the thrill-powered overcompensation of a fatigued 60s and 70s. Here I want to move things along to the 1980s, the crucial point in comics' transformation from mass-cultural newsstand item to speciality item via the enclosure of the direct sales system. In many ways, this post is an analysis of a particular space—the direct market comic shop—and the sensibility it has produced. It's worth pointing out that this is not done to prove how unique, amazing or terrible the comics industry is, but rather to ask what has really changed in comics, and how we can relate it to wider cultural and political transformations.
What sparked this was thinking about superhero comics in tandem with 80s and 90s cyberpunk. Evan Calder Williams, in his book Combined and Uneven Apocalypse, recently offered this verdict on the latter:
Cyberpunk was both creation and consequence of a gap between the paranoia of the technological sublime and a creeping realization that perhaps this is no brave new world. Just a nanotechnology dressing up of the way things already were going, and for that reason, it stands among the sharpest of critical realisms.
The cyberpunk aesthetic, often read as celebrating the techno-utopian possibilities of virtual space and immaterial labour, was always in fact an ambivalent or openly critical unmasking of the real tendencies lying behind them. Similarly, direct market comics have their own critical realism that begins in the 1980s, one both more and less obvious than the cyberpunk version: a clear-eyed demolition of the superhero legacy, imbricated in both the Dark Age and the subsequent Mindless-coined Prismatic Age. However, moreso than literary science fiction the development of comic books is tied up with the dynamic of markets, impersonal forces, raw commerce, along with their bizarro mirror image in its network of powerful fan identifications. I tend to think that comics' most productive tensions arise from a kind of post-Fordist melancholia—in other words, from their difficult relationship with the failed project of consensus mass-culture and mass society, the glorious shiny Superman virility of a hard-working non-collective of consumers. The space of the direct market comic shop has been, since the 1980s, the theatre in which these tensions are played out, which makes it the ideal frame through which comics' critical realism can be understood.
The direct market's startling origin
Popular 1980s documentary The Lost Boys
The shift to the direct market is largely the story of what happens to twentieth-century industrial forms of mass culture as they decay and turn inwards, yet cannot be allowed to die. In Of Comics and Men, Jean-Paul Gabilliet links the slow demise of the traditional newsstand distribution network in the 60s and 70s with fundamental economic shifts in American life: "the erosion of rural retailing, of small towns, and their accompanying lifestyle." The contraction in newsstand distribution resulted in the dramatic price jumps of the 1970s, with comics' increasing divorce from mass-cultural low-cost profitability prompting the turn towards the specialist comic shop model. The direct sales system was adopted in 1973 at the suggestion of comic convention organizer Phil Seuling, but it took the increasingly DM-centred success of titles like Claremont's X-Men for the major companies to put out work solely for the enclosed audience. At this point, the comics industry had already lost thousands of readers, but through the DM it gained a degree of autonomy; as Gabilliet puts it, the situation results in "a medium detached from the economic and cultural universe of the periodical press." (This is perhaps why, incidentally, to a DM reader, the rare comics that remain in the mass-market periodical press, whether they are Nickelodeon ones or Marvel compilation comics, seem so weird.)
The autonomy of the DM is not simply a recipe for more of the same in a different environment. On the contrary, it means a fundamental shift in the way that comics as objects relate to their readers. Mass-media models of production and distribution are usually impersonal; the mass publication is, to varying degrees, reliant upon not deliberately turning off prospective readers—hence, for example, the importance of the Comics Code Authority during the height of the newsstand period. From the 30s to the 70s in comics we have a foundation of novelty—the comic book as object is fundamentally a novelty item bought on a whim, every comic is someone's first—upon which the reader must then be assailed by familiarity: classical or pulp archetypes, dime-novel era comforts, funnies, western, crime, science fiction. The superhero becomes comics' own strikingly identifiable composite of all of these elements. (It goes without saying, but let's say it anyway: no newsstand, no superhero.)
A dominant direct market, on the other hand, reverses the relation between familiarity and novelty. The foundation is an enclosed, guaranteed readership all-too familiar with the conventions of the commodity being sold, and overlaid upon this is a kind of shock-and-awe commitment to permanent novelty—think of the publishing techniques of the Wizard era with its array of formats, trading-card-inserted, alternate covers, die cut, polybagged Turok: Dinosaur Hunter bullshit; think of Marvel and DC's publishing stunts based on sheer quantity of output, with a million and one Blackest Night tie-ins bludgeoning the reader sensorium. Moreover, the direct market inherits the historically-loaded composite necessary for the industry's survival—the superhero—but without any of its original social/cultural coordinates, ie. the meanings and functions specific to a mass market and a Fordist society, once reflected in the clear-lined certainties of adventure storytelling. The superhero now signifies too much and too little simultaneously. Think here of the exhilarating emptiness of many of the first-wave Image comics and how they deal with the superhero as idea; or DC's infinite Crises as attempts to make sense of the now-incomprehensible narrative decisions of the previous mode.
'Plus I'll tell you what the 80s like'
I want to pause here to take a look at the changes in content brought about as a result of the rise of the direct market. At the dawn of the new era, DC was still picking up the pieces of the Implosion, and phasing out their numbing campaign of 100 Page Super Spectacular reprints and similar fare. Marvel slowly abandoned its commitment to Conan-derived 1970s pulp-fantasy. These grimy newsprint adventures begin to make less sense in the shiny new DM spaces; Claremont's space-operatic mutant model instead reflects the new comics industry problematic of how to excite a guaranteed returning audience. The mighty Dazzler #1, complete with creepy cover, is Marvel's first DM-only title. This is not terribly interesting in itself, but as the 80s get going we have the experiments with the graphic novel format (Marvel's introduction of the New Mutants; DC's Science Fiction GN series; Eclipse's Detectives Inc). The adult fantasy of Marvel's Epic Illustrated magazine as a response to Heavy Metal, followed by the Epic line of comics. Chaykin's exquisitely self-conscious American Flagg. The gradual proliferation of miniseries. Novelties like First's preposterous attempt at a computer-generated comic in Shatter, "with a little help from Apple Macintosh". DC's canonizing of particular storylines and creative teams, their glossy Baxter reprints of 'hard-to-find' material by Neal Adams and others, and new glossy editions of Legion of Superheroes and Teen Titans, whose contents were reprinted a year later on newsprint.
Sienkiewicz's Dazzler
Hand in hand with this, importantly we also have expanding comic shop back-issue racks and bargain bins, buyer's price guides and the rise of the collector. Zombified labour of a previous era, congealed in every back-issue, haunts the spaces of the direct market. The material weight of comics history in all of its musty, yellowing corporeality is put into relation with every new release, just as the newsprint/newsstand editions of major titles continue to share space with the Prestige techniques and variations in format of the new era; the basest forms of bullpen-style standardized comics sit next to their critical successors, in a permanent tension so ubiquitous that it is hardly ever remarked upon, and instead is subsumed under simple consumer choice.
In the DM the comic shop establishes itself, then, even in its giddy first flush, as a specific kind of habitat rife with the objectified melancholy of recent mass-cultural history: the history that acts both as embarrassment and productive tension. On this basis, it produces a particular kind of reader sensibility—a particular consciousness—as it prods the comics audience towards the relentless comparison of different eras and styles. (This kind of sensibility was produced in independent record shops too, but there is something particularly acute about the comics iteration.) All this is not to say, however, that DM comics immediately reflected the topography of the new environment. Among other awkward misfires, DC's first major DM event was the 12-issue maxiseries Camelot 3000, a synthesis of the Roy Thomas School of Literary Adaptation—CONTINUING LEGENDS CHRONICLED BY SIR THOMAS MALORY—with the cynical anti-hero science fiction mined by many types of media throughout the 1980s. In one sense, though, it did reflect the push towards a new kind of realist defiance in Brian Bolland's (painstaking, much-delayed) art, an insistence on a certain kind of concrete construction whose effect is to comment upon the flimsy ephemerality of time-deficient Bullpen art. The series stands as one of a number of tentative experiments in producing work appropriate to the new situation, some unity of elements that would address the new cultural and economic space. Retrospectively the breakthrough is obvious of course: it came in 1986 with—yes that's right, steady on, I'll move on quickly—Dark Knight Returns and Watchmen.
Bloody Watchmen
Duncan Falconer has it that Watchmen's reputation is a black hole, warping how we view the development of the Dark Age's gritty revolution. But does it have the same effect on analyzing the critical possibilities of the direct market? Clearly, there are many comics before Watchmen which critically deconstruct the superhero, satirize the latent absurdity of Men in Tights and so on. Many of them are written by Steve Gerber. But not until the historical weight and critical/comparative perspective specific to the mid-80s comic shop, together with the development of Prestige (re)production techniques, could Watchmen gain its particular resonance. These material conditions allow for the context—the stage—in which Watchmen and similar works could act the part of critical naysayer to the comic shop rack's older players. The series' success now figures as the overdetermined symbol of the DM's accidental purpose: to unmask the totems and fetishes of comics' mass-cultural history, to transform the ritual of serialized adventure into the ritual of narrativized critique; and more than this, to produce an audience who will come to demand this week in week out.
It is my contention, then, that Watchmen merely acts as the most obvious reference point for the comic shop's critical perspective. The same goes for DKR with its original squarebound, 52-page 4-issue miniseries luxuriance; the weight and immaculate design of each issue providing the critical Prestige template. Prompted by these titles' successes, the critical turn was then taken up properly by the industry as a whole. All existing superhero material is revisited, exposed to the critical gaze, even, or perhaps especially, the likes of Justice Inc and Black Orchid; the more incomprehensible an obscure old superhero feels through the 80s sensibility, the more glorious is the effect when they are given roles in the new theatre of the direct market. DC's Vertigo imprint will eventually install critical consciousness as its de facto founding principle, chiefly through the 'adult' return of their 1960s supernatural characters. This is not just a narrative principle but a technical and art/design one, as DKR made clear. Two aforementioned titles, Dazzler and New Mutants, had hinted at this even before 1986 with the Brechtian shock of their Bill Sienkiewicz-painted covers. The comics work of Dave McKean, Kent Williams, John Bolton and other painters takes up this mantle, providing the other polarity to the one occupied by the remaining classical superhero artists like John Byrne, with the two poles allowing a suddenly vast number of styles to sit comfortably between them.
The curse of maturity
Something needs to be cleared up here. What is the relation between this critical consciousness and 'mature readers', the marketing category given to self-consciously adult material by the mid-1980s? Are we talking about something more than monstrous comics aren't just for kids anymore cretinism? Certainly there are many interesting things going on in comics in the distinctions between childhood and maturity; but while they overlap a great deal, when I talk about critical consciousness it is not quite mapped by the Mature tag—anyone who has read, say, 100 Bullets knows there is nothing inherently critical about comics for adults. Nor is it quite mapped by reference to the Milligan-Morrison-Moore British Invasion authors who wrote many of the most obviously critical DM works of the 1980s, though they have come to exemplify it (and they suggest a further line of inquiry in distinguishing between the American and British modes of comic shop-derived sensibility). Furthermore, I can't help but think that the Dark Age highlights only the most popular aesthetic route to this critique, one which quickly became uncritically fetishized in its own right.
A future comics critic ponders the mass-cultural past
Critical consciousness instead refers to something that is produced by the very space itself, the comic shop where the audience-as-collective-subject is formed. It deals with the sense of compulsively working through the recent past, picking it over, dispelling oneself of its most damaging myths only to return to them again and again in more sophisticated ways. In science fiction, this kind of critique was evident in stories like William Gibson's early 'The Gernsback Continuum', where the pulp magazine era is pointedly cast in relation to the burgeoning cyberpunk one. The sense of release in working through an apparently idiotic yet inescapable past is palpable in both fields. However, as Carl Freedman has put it in regard to cyberpunk, critical realism can quickly turn into the "crackpot realism" of sentimental cynicism:
the attitude … that takes a world resistant to praxis and apparently void of utopia as one in which the entire notions of praxis and utopia may be merely abandoned with hard-bitten "knowingness."
This is the sensibility that offers the reader "the always comforting conservative assurance that … nothing is to be done": it is the tendency in comics' own realism, sometimes overpowering due to their relentless weekly publication schedule, to suggest that there will be no meaningful understanding of the past, no future transformation, no way to finally resolve the tensions of the superhero, the direct market or mass culture (extrapolate further to capitalism, environmental catastrophe, etc); just a weekly ritual, just a working-out of these issues with no end in sight forfuckingever. We could probably point to Frank Miller's work here as being indicative of this sentimental cynicism (at least before his recent move to a form of authoritarian psychosis); and we can obviously say that the major comics companies, with their terrifying overlords, would like nothing better than for this to be the case. It mustn't be forgotten, however, that there have been points in the history of direct market comics that resist this urge towards paralysis, that continue to express the DM's accidental critical spirit rather than its cynicism: through Morrison's Invisibles or Nocenti's Daredevil or Morales and Baker's Truth: Red, White and Black, to name three, there have been bold suggestions of a way out of the enforced impasse. Remember that these comics don't simply transcend the the direct market by virtue of their wonderfulness—they are instead the product and reflection of its critical purpose.
Filed in Ages of Superhero Comics, Dark Age, Modern Age, Opinion, politics
17 Responses to "The Theatre of the Direct Market"
W.Kasper Says:
December 8th, 2011 at 12:55 am
What an excellent post! Will there be a follow up?
Old Richard Marschall books, Gene Deitch memoirs, Peter Blegvad' | Says:
[...] to fully absorb yet — the Mindless Ones' Doubtful Guest turns in a ginormous take on the current state of the direct market, and it looks to be the kind of lengthy link-heavy MO essay I like best from [...]
W: I hope so, lots to say about the 90s period.
I think I must learn about 50-75% more here, than at any other comics/pop culture related blog.
May be of interest:
http://andwhatwillbeleftofthem.blogspot.com/2010/10/pulp-sorcery.html
BTW been meaning to do a post on American Flagg for ages – it does represent so much about 80s culture that goes way beyond comics. Never been a big fan of Chaykin, but the first 12 issues say an awful lot about where the US was heading during the 80s.
Also this might be the first time I've read or heard someone besides myself praising Ann Nocenti's run on Daredevil.
There's plenny of that on the bloggosphere. Flawed but brilliant is the usual description.
I'd be really interested to hear your thoughts about Malibu, Joel. That was one weird publishing/continuity model.
Yeah, it's one I keep reading again-and-again now, everyone (I respect) citing as an absolute high watermark of 1980s Marvel, Nocenti's DD. I'd really like to read it.
W, that post is fucking boss!
Zom, I'd love to look at Malibu in-depth; seems particularly interesting how the Ultraverse seemed to rise and fall based on 'state of teh art' in-house colouring (apparently the reason why Marvel bought them out?) which looks incredibly uggers now of course. I have read virtually none of the comics though.
They might be amazing in the way that Image comics of the period are amazing. But sunnier.
Btw, anyone with a real taste for DM history may now want to turn to this heroically boring retailing-insider's view:
http://www.milehighcomics.com/tales/cbg95.html
which seems to suggest that the success of the direct market rested on the author's friendship with Jim Shooter. Ladies and gentlemen, the retailing petit-bourgoisie!
Also a perhaps less boring, as it has pictures, but still kinda toothless, look at the DM in the latest/last Comic Book Comics comic.
mad_arab Says:
I'm getting a little tired of just coming on here to stroke you guys without having any insight to add, but The MindlessOnes are proof that even though we might be living in Millarworld, the revolucion is alive. Blog of the year, by far..
No Clever Title Needed | 12-12-2011 | alec reads comics Says:
[...] Mindless Ones blog recently posted an article titled "The Theatre of The Direct Market." For anyone at all aligned in comics and considers themselves on the "in" of the [...]
Mindless Ones » Blog Archive » The 3 Bawbags of Xmas-yet-to-come present: Tue Massacre: Beyond the New 52! (featuring Mister Attack) Says:
[...] The main question I've had with most of the comics I've read in the past few month has been – "Is there any point to you, or are you just making it harder for me to get out the door?" No doubt there's a lot of shite out there, shite produced in large part by companies who come into contact with good art or ethics occasionally, by accident. But – as people in work keep reminding me when I say that I'm not really interested in having children, or at least, not right now – accidents do happen. [...]
Mindless Ones » Blog Archive » Action Comics #9, or "The Drones of Metropolis" Says:
[...] ENSURED THAT THIS PARTICULAR MACHINE (ACTION! COMICS!) HAS RARELY LOOKED LIKE IT WAS READY FOR THE COMICS MARKETPLACE. THIS PARTICULAR ISSUE WAS DRAWN BY GENE HA, WHO PREVIOUSLY GRACED THE SERIES WITH GUEST ART FOR AN [...]
Universe Part Eight: Bonfire Of The Novelties « A Trout In The Milk Says:
[...] pedagogy must eventually find its other half (its secret identity?) in a clever Marxist analysis of art as industrial relations…and then together wind their way back to the Lawrentian root of art as [...]