Cnet 9d	 Best Buy (BBY) on a Roll: Should You Buy the Stock Right Away?
3/22/2019 Best Buy Outperform Oppenheimer & Co. Inc.
11/21/2018 Best Buy Neutral Wedbush Morgan Securities Inc.
3/5/2018 Best Buy Underperform Wedbush Morgan Securities Inc.
Best Buy Co. , Inc. provides consumer electronics, home office products, entertainment products, appliances and related services. It operates through two business segments: Domestic and International. The Domestic segment is comprised of the operations in all states, districts and territories of the U. S. , operating under various brand names, including but not limited to, Best Buy, Best Buy Mobile, Geek Squad, Magnolia Audio Video, Napster and Pacific Sales. The International segment is comprised of all operations outside the U.


KIA Summer Slam Beach Tennis: Game on!
Beach tennis is being played for the first time along the Garden route with South Africa hosting the KIA Summer Slam, a circuit of four event, culminating in a $25,000 event in Plettenberg Bay.
This is one of the 5 largest beach tennis tournaments in the world and has attracted 7 of the world top 10 men's beach tennis players.


Marta Tienda, a leading scholar on immigration, population diversification, and poverty and the roles they play in access to education, delivered the 13th annual AERA Brown Lecture in Education Research on October 20.
More than 130 of AERA's leaders gathered in Washington, D.C., October 21–22, for the association's 2016 Coordinated Committee Meeting. This annual event provides an opportunity for most of AERA's committees to meet individually, but also to come together collectively in general sessions to address issues of significance to the field.
AERA has just announced eChapters, a new feature of its Books Program. This new initiative is intended to provide an affordable option to those readers who have a specific interest in a single chapter rather than an entire volume.
As states and school districts implement the Every Student Succeeds Act, the Department of Education has issued non-regulatory guidance on various provisions of the law. In September, the department released Using Evidence to Strengthen Education Investments to assist local stakeholders in decision-making on evidence-based interventions.
The Commission on Evidence-Based Policymaking, created by bipartisan legislation passed in March 2016, is charged with producing a report that identifies how the federal government can enhance the use of data and evidence to improve federal programs and policies.
The White House National Science and Technology Council released the Social and Behavioral Sciences Team 2016 Annual Report on September 15. The report updates the progress toward incorporating social and behavioral science research in the design of federal policies and programs, encouraged last year in an executive order from President Barack Obama.


Ryan Holiday published Please, Please, For the Love of God: Do Not Start a Podcast and it's making the rounds on the interwebs. For some, it seems, it's saying what many people have been thinking and is thus bringing in a sigh of relief that someone has said it. For others, it sounds like the same old, same old line from people who have made it telling people who haven't that they shouldn't start and instead go do something different.
My take is mostly on the latter side of things.
The tricky part here is that Ryan is a masterful media manipulator, so it's hard to tell which parts of his essay were for a provocative rant for attention and which parts he meant to be more than straw men and to be legitimately useful for people. It's precisely because his piece weaves in so many threads that it's worth detangling.
Let's step aside the fact that this may rest upon the fundamental attribution error, namely that we assume our motivations are good and reasonable when, for the same actions, we assume other people's motivations are less than noble. I'd instead like to state another general rule, if I may: to find authentic and sustainable success in any content-based media, you have to love the media from the beginning. Otherwise, you'll go through the motions and cut so many corners that you'll end up with nothing but a soulless circle full of your own self-promotion and frustrations.
We've got to be careful here, though, because loving the media need not mean loving the conventions of the media. I don't particularly love the conventions of many podcasts, but I love a media form that allows us to capture authentic and deep conversations. In a similar way, I love what books and blogs allow us to share and consume, even if I don't love the conventions of either.
While I find this an odd thrust coming from Ryan — whose book Trust Me, I'm Lying recounted many of his successful and questionable exploits to manipulate the media — outright lying to get people's attention is annoying and deplorable.
There are other lines and sentiments I might agree with, as well, but they're mostly things that we can all agree with: don't lie to folks and do the work. The rest starts to get especially shaky.
This has less to do with podcasting than general growth strategies for new creators across just about every media I know of. New musicians get known names to join a song. New authors get established authors to write a preface or a slice of the book. People host telesummits and websummits with the usual suspects so they'll be on stage with the established usual suspects. And while Ryan hasn't pitched me yet (and probably won't after I publish this), I imagine that he uses some degrees of the social proof that he's criticizing for his up-and-coming clients OR that he did before he was the Ryan Holiday.
Which creates an interesting tension in his thrust here: if more influencers would agree to interview requests from newcomers without assessing whether it's all things considered a good use of their time, then we wouldn't see as many of these types of pitches. At the same time, if they agreed, then they're in Ryan's seemingly less-than list of people who will apparently agree to any interview request from anyone at anytime.
That leaves new creators in a bind, for unless they have the good fortune of knowing influencers or knowing someone who knows influencers, it's tough to get influencers' attention. As much as we'd like to live in the "build something great and they'll come" world, the reality is that influencers bring your creative efforts influence faster than toiling away in artistic obscurity. Being prepared to toil away in artistic obscurity – aka doing the work – isn't inconsistent with asking others to support your work and/or give you a boost.
For comprehensiveness, let's list out the rest of the great podcasters he mentioned: Jordan Harbinger, Marc Maron, Brian Koppelmen, Tim Ferriss, Rich Roll, James Altucher, and Lewis Howes.
Of the eleven people he mentioned, one is a woman (co-)host and one appears to be a minority. All had some type of creative success before they started podcasting. All clearly have the time, money, and success to leverage and create model podcasts.
To be clear here, I'm not saying Ryan is himself intentionally racist, sexist, or classist. What I am saying is that his examples, tone, and argument lead to a perpetuation of white patriarchal values and norms. Were we to follow his line of thinking, we can expect to hear the same narratives, norms, and values in the decades to come as we have in the decades past.
When I hear elitist arguments akin to Ryan's, I can't help but think of the scene in Forrest Gump when all the kids keep saying "this seat's taken," when clearly there's room for a new person to sit down. That we move on to another seat only reinforces the social dynamic that keeps power structures in place. It's time we not just move on and agree that the seat's taken.
While we're discussing social norms, let's get another one on the table: there's a wide swath of people who aren't prodigies, geniuses, or people who had their creative skills nurtured when they were children. A lot of people have been told, in as many words, that they should be a part of the quiet, consumptive class and let the people with talent do their thing. This is especially the case for women, minorities, and the poor.
The result of this is that a lot of people end up making it all the way through high school and even college without ever considering that they're creative or have anything worth saying or sharing. And because they got a late jump on starting, they're not as "talented" as people who have had those creative skills cultivated since they were young. They're comparing their skills as new practicing creatives with the honed skills of practiced creatives.
Clearly, in a race like this, the new runners won't be as good as the people who've transcended running the race and are now defining what the rules are.
Additionally, the wonderful world we live in now is creating new expressive platforms that we're all figuring out as we go along. While it's undeniable that general photogenic, comedic, rhetorical, theatrical, and charismatic skills learned elsewhere are transferable to new media, anyone over the age of 25 wasn't formally taught how to and encouraged to use Snap, Twitter, or podcasting tools.
The fact that a lot of people are still figuring out what their creative marks are in constantly evolving free platforms with no barrier to entry means that we're going to see a lot of "bad" creations. Adults are putting the drawings, songs, poems, and stories they didn't get to write as kids on the refrigerator of the world, the internet.
On that note, while there are clearly benefits were new creators to do their research and learn from the masters, a downside is that this has a tendency to perpetuate certain memes, norms, best practices, and forms in open new media when we catch people's creations before they've developed their own style. While it's rarely formally taught, the imitate, assimilate, and innovate growth cycle is an intuitive and natural way for us to make our way and we spend a long time in that imitate state.
So it's not just that we get to experience a lot of people's first expressions, we get to experience people's imitative first expressions in media that they may not be good at yet. This is maddening for the elites, critics, fashionistas, gatekeepers, and editors of the world and there's no end to the instances of bad art, hucksters, phonies, hacks, and copycats.
But as Clay Shirky argued in Here Comes Everybody, there's also no end to the instances of brilliant newcomers, gamechangers, boundary-pushers, category-busters, synthesist, subversive storytellers, engaging entertainers, and truly interesting and unique people to find. Many of this latter bunch of people wouldn't have or didn't make it in traditional educational or artistic venues.
This public creative process is messy. Much like bloggers co-evolve with their blogs, creatives co-evolve with their creations in public. They're figuring out what they're good at and what their jam is as they go along, but that's how we all go along. We don't figure out what our thing is by researching and listening to other people do their thing. We figure out what our thing is by trying it, being terrible at it at first, but seeing that there's enough there for you to keep at it, all while understanding that anything worth doing well is worth doing badly in the beginning.
But let's be honest: if we're really showing up for our own work, we're all figuring it out as we go along. How about being honest about that and shuck the "this seat's taken" mindset?
The world does need more listeners, and not just when it comes to podcasting. The thing is, we don't get to decide what people should be listening to and what they find important.
I'm with Ryan that we don't need more copycats, as well. The trick here is that the research and understanding of the medium he's recommending is going to lead to more people differentiating on sizzle and not on substance because it's the same narratives and frames rehashed over and over again. I think we've lost when the remarkable part of a podcast is that it happens in a hot barrel sauna or it's done on Google Hangouts with masks on.
But, again, I don't get to decide what the attention market will value. I can't fathom why people love Snap, but clearly Snap is doing something for lots of people. As a general rule, business parable books and case studies turned into best practices don't do for me, but, again, they clearly have a place in the attention marketplace.
I also happen to think there's a growing audience of people who want more than tips, narratives, and life strategies from people who've managed to leverage their privilege. There are unheard and untold stories of weirdos, freaks, outliers, misfits, underdogs, and the overlooked — i.e. the rest of us — and the promise of the fact that we can all be creators and publishers is that we can both create those stories and find them.
I personally would rather hear an underproduced, unrehearsed conversation from Skype or a cheap telephone conference line that actually moves me, educates me, or makes me a better person than to hear a pristine show that follows all the best practices but manages to spend 30 minutes of my time saying nothing worth remembering or that's rehashing the same topics and arc time and time again. I'm willing to look at those refrigerator drawings and see the tree in the acorn rather than demanding that it's a tree already. I know upon listening to a podcast whether the host is still figuring out her voice, and I'm happy to stick in there until she makes her way if she's talking about something I'm interested in and is making an honest effort to do her best, with whatever means and experience she has.
I don't and can't know whether you'll stick it out or be successful. I don't and can't know what the attention market will value.
But what I do know is that you absolutely should start saying something and creating something if you've got something inside you that needs to come out. Sooner rather than later. And especially if you've been told not to.
Because the world would be a better place if more people actually added to the creative chorus, even if they start out off key, sound like someone else in the beginning, haven't bought the fancy clothes, or decide to stop singing later.
My request of you is this: once you start adding to this big chorus we're all a part of, remember that there are people who want to start singing but are scared to or have been told that they should be a listener. Invite them to stand next to you rather than crowding them out.
Charlie Gilkey is a best-selling author, speaker, and business strategist who helps people start finishing the stuff ...	Read more articles from Charlie on Thought Catalog.


The Curious Case Of Being A Woman!
So I had a small surgery last Monday – it was a small procedure, well actually 2 procedures done together – Polypectomy Hysteroscopy with Cervical Cauterization. Big names! And btw, I am fine. Recovering, little weak and easily exhausted, but better!
So it actually started 3.5 years ago, when I started strength training at the gym. I would bleed a little outside my menstruation cycle. As it happened only on the gymming days, I put it down to lifting heavy weights. It happened on and off, but I never paid much attention. As I said, I noticed it on the days when I visited the gym. Also, since I turned 33, I would get an annual health check up done which included complete Thyroid profile, CBC, Lipid profile, Vitamin D3, Vitamin B12, Fasting Sugar and Post Lunch Blood Sugar, Bone Density, etc. And, they were all under control, which gave me little reason to worry about a thing as small as infrequent bleeding (as I thought).
Curiously 5-6 months ago, I realized that the bleeding happened even on days when I didn't go to the gym. That worried me. Time to visit the gynec. The doctor checked via an ultrasound and showed me a mushroom-like structure having taken up residence in my uterus. In medical terms it's called Endometrial Polyp. She told me it was big and would only keep getting bigger and acquiring blood vessels, which in turn would burst and bleed. It happens to pre and post menstrual women. It is a cause for worry in post menstrual women who have never had it before as the growth may be cancerous. There is no reason why it happens. Our body works in mysterious ways, I realized that day!
She suggested me to remove it within 6 months to a year, because with the polyp growing, it could pose embarrassing situation for me. So without delay, I got the procedure done. There was no pain before or after the surgery. No stitches either. But it was a procedure that involved many risks to the life if went awry.
Long story short – if I had seen the doctor 3 years ago when I first saw the bleeding, I might have been saved this surgery. There was a chance the polyp could have been melted with medicines.
It's not only me, there are many women like me who have this easy going attitude when it comes to their health. At the first sneeze of our children we rush to the doctors, while we can bleed to death, we are least concerned. Women's Day and Mother's Day come twice a year – the days when all women and mothers suddenly become extremely precious; but the rest of the year, we still need to manage on our own, we still need to fight our own battles, whether they are mental or physical.
My polyp was a small thing; I got away with a simple surgery. But the next time, things may not be that simple or curable. I have to take the reins of my well being in my hands. And, thus I urge you my friends to be more aware of your health too. You make the world (at least your household) work; so don't take things lightly. Age has got nothing to do with diseases. They can come anytime.
If you are unsure about the slightest thing, get a health check up done, rush to the doctor and get things sorted. Take Care!! Hugs!!
What I miss being a child?


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JENISU, City Scape, 2021, Unique Non-Fungible Token, courtesy of SuperRare.
Mari.k, Emiris, 2021, Unique Non-Fungible Token, courtesy of SuperRare.
Annibale Siconolfi, The Old District, 2021, Unique Non-Fungible Token, courtesy of SuperRare.
An Rong Creates New Narratives Around Digital Art at SuperRare
As director of art and cultural programs at SuperRare, An Rong engages with artists in the crypto and digital art world through organizing shows online and in the metaverse, finding new ways of storytelling, and ultimately building community.
Rong recognized early on the potential for the digital art world to change the fine art market. Native digital art is connecting with people because it meets us where we're at—online more than ever before. As she points out, how many young people have been to a physical art gallery, versus how many have liked an image of an artwork on Instagram?
Curating exhibitions such as "Invisible Cities" last spring with Elisabeth Johs and "Un-realism" this June, Rong is provided context for the work of crypto artists at SuperRare. She spoke with Whitewall about why she hopes the future of the digital art world will be much different than the traditional art world.
WHITEWALL: How would you describe your role at SuperRare?
AN RONG: I'm leading our art and cultural programs, which include exhibitions, art events, auctions, artist projects, special releases, and partnerships with art institutions around the world.
WW: Your master's thesis, written in 2019, focused on blockchain and art. You said that you saw then that digital art would revolutionize the art world. What potential did you see then? And what has that expanded to now?
AR: Before blockchain, digital art was very hard to be accepted into the mainstream fine art world. First of all, it's the art market. It was difficult to collect digital art. The file can be infinitely reproduced; the equipment that usually goes with the digital art can deteriorate; the software can become invalid, as everything is happening fast and constantly upgraded in the digital world. There are so many risks and uncertainties in collecting digital artworks. Then in the museums, the preservation and exhibition of digital artworks are not easy either.
Digital art is often tied to something physical, because people are uneasy about the idea of a purely digital world. But crypto art really changes this. Crypto art allows digital art to have a huge market. And then, given how intertwined the art market and the fine art world are (unfortunately), digital art can enter the mainstream fine art world much more easily, without being tied to anything physical. We and art can happily live in the metaverse.
The idea really excited me back then because digital art is already everywhere. But the fine art world is turning its back to it. How many millennials have visited an art gallery? And how many millennials have liked an Instagram Artsy post? Blockchain seems long overdue for digital art and artists. That's why I think the potential is huge.
WW: You've said that you see the future of the digital art world as something being rebuilt from scratch. What could that look like?
AR: What I meant was when a disruptive thing happens, by definition it's something completely new. You can't expect Louvre to be as influential as MoMA on the modern art era. So it's the same with crypto art. We have "art institutions" like the Museum of Crypto Art, which literally started from scratch in the metaverse. It's possible to become one of the most important museums for digital art in the future. Or auction houses, even though Christie's and Sotheby's already entered the crypto art space, platforms like SuperRare invented new auction rules and habits that will be way more important to crypto art than Christie's can ever be. I hope the future of the digital art world will be much different than the traditional art world, but on the other hand nothing is created from a void—we always learn from the past.
WW: What then do you make of the traditional art world and nondigital native artists entering this space?
AR: I think to be a crypto artist, you need to be fully invested into the space, the community, and the movement. When traditional artists enter the space out of curiosity, generating some extra revenue, or expanding their multimedia practices, to me they are not crypto artists. Most of them wouldn't want to be labeled as that either. It's like when Abstract Expressionists decide to paint some Pop art for fun.
But it's totally everyone's freedom to make whatever art they want to do. In fact, we are currently organizing an exhibition to highlight artists who work both in the digital and the physical world.
WW: You've created exhibitions of digital art, like the recent "Invisible Cities." What is your approach to storytelling around digital art?
AR: I always want to create some new narratives that are special to digital art. Last year I did a Gen Z art exhibition. As you can imagine, they are totally digital native and it was interesting to learn their perspectives as crypto artists. I also did one on motion designers. Again, a topic you won't see in the fine art world. But motion designers are such a huge part of the crypto art community. I learned so much from those artists and saw how much impact crypto art made on their practices and careers. Another more "conventional" one I did was generative and AI art in crypto art. Generative and AI art is very much in the context of art history, but crypto art helps this genre immensely as the artworks are inherently digital.
An RongArtist InterviewsCrypto ArtSummer 2021 Impact IssueSuperRare

redpajama_set_name: RedPajamaCommonCrawl


In the pantheon of holocaust cinema, "The Zookeeper's Wife" (Focus) isn't as powerful or epic as "Schindler's List," but neither is it as dreadful as "The Boy In The Striped Pajamas." Landing somewhere in between, the film, based on the book by Diane Ackerman, tells the true story of the titular Antonina Żabińska (played by Jessica Chastain), and her husband Jan (Johan Heldenbergh), and their roles in the Polish underground resistance during World War II.
Living in a home on the grounds of the zoo with their son Ryszard (Timothy Radford as the younger boy and Val Maloku as the older one), Antonina and Jan are beloved for the treatment of the animal menagerie as well as their ability to relate to the critters, and keeping them safe from harm. However, following Germany's summer 1939 invasion of Poland, which resulted in the bombing of the zoo and the deaths of countless animals, their lives were forever changed.
Additionally, Antonina must deal with perverse German zoologist Heck (Daniel Brühl), the man in charge of the Berlin zoo. How convenient it is for him when, after the German invasion, he rises through the Nazi ranks and takes whichever of the surviving animals he wishes from the Żabińska's zoo for his own. Heck is so caught up in his own evil mission that he doesn't realize that, with the aid of a few loyal staff members, the Żabińskas have create a hidden safe-space for Jews on the grounds of the zoo.


How to tell if your MacBook battery needs to be replaced.
The battery life of an Apple MacBook is something that PC laptop users dream about. It's normal for MacBook Air users to get 12 hours on a single charge, and MacBook Pro users should get several hours, even if the laptop is a few years old. But, the battery life will get worse over time. There is nothing that anybody can do to prevent that. The issue comes when it is time to replace the battery. They are not designed to be replaceable by members of the public, which makes some people think that they are not replaceable at all.
That's not true. The battery in a MacBook, whether it's a MacBook Pro or Air, can be replaced with a new model and many more years use can be had.
Looking for iPhone battery replacements?
The fastest way to check if your MacBook is in need of a new battery is to open System Profiler. This is located in Applications > Utilities and can also be accessed by going to the Apple menu > About This Mac > More Info. Click on the Power section in the list and you'll find information like the cycle count and condition rating. The condition rating can be "Normal", "Replace Soon", "Replace Now", or "Service Battery". If your battery is listed as anything except, Condition: Normal, then you should replace your battery.
macOS Sierra 10.12 or later: Open System Information by choosing "About this Mac" from the Apple Menu. Click System Report.
Use of your MacBook battery is counted in the form of charge cycles. A charge cycle means using all of the battery's power, but that doesn't necessarily mean a single charge. For instance, you could use your MacBook for an hour or more one day, using half its charge, and then recharge it fully. If you did the same thing the next day, it would count as one charge cycle, not two, so it may take several days to complete a cycle.
If you are not sure which type of MacBook you have, we have some information pages which can help. Or you can send us the serial number of your Mac using our contact form and we can let you know what type of Mac you have, and what your optons are for a battery replacement.
You can find the serial number and other identifiers for your MacBook in macOS, on the computer's surface, and on its packaging.
Choose Apple () menu > About This Mac. The window that appears lists your computer's model name — for example, MacBook Pro (13-inch, 2016, Four Thunderbolt 3 ports) — and serial number. Your serial number can really help SimplyFixIt to offer you personalised advice on repairs or upgrades for your model.
You can also use your computer's model identifier to get more information. In the About This Mac window, click System Report. In the System Information window that opens, find Model Identifier in the Hardware Overview section. Then use the identifier to locate your MacBook below.


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Oil and gas processing
Акции на АЗС
Arhangelsk region
Astrakhan region
Kaliningrad region
Khanty-Mansi Autonomous Area
Krasnodar region
Leningrad region
Moscow and Moscow region
Nenets Autonomous Area
Nizhny Novgorod region
Novgorod region
Orenburg region
Perm territory
Republic of Kalmykia
Republic of Komi
Republic of Udmurtia
Rostov region
Samara region
Saratov region
Stavropol region
Tula region
Tver region
Tyumen region
Volgograd region
Voronezh region
Yamalo-Nenets Autonomous Area
Yaroslavl region
12/01/2021 - LUKOIL BOARD OF DIRECTORS SUMMARIZES PRELIMINARY RESULTS FOR 2020
At today's meeting of LUKOIL Board of Directors in Moscow the members of the Board conducted a preliminary review of the Company's performance in 2020 and defined main objectives for 2021, which include, among other things, enhancement of the management system, observing investment discipline and further development of the carbon management system.
28/12/2020 - LUKOIL STARTS PILOT PRODUCTION AT GAS CONDENSATE FIELD IN BOLSHEKHETSKAYA DEPRESSION
LUKOIL started pilot production at Khalmerpayutinskoye gas condensate field of the Bolshekhetskaya depression in Yamal-Nenets Autonomous District. The company has set up well pad at the field and drilled two wells with daily flow rates of 395 thousand cubic meters of natural gas and 31 tonnes of condensate.
17/12/2020 - LUKOIL STEPS UP IN THE CDP CLIMATE CHANGE RATING
LUKOIL has stepped up in the CDP (Carbon Disclosure Project) international climate change rating by one notch and entered the C List, which resulted from developing the Company's carbon management system.
15/12/2020 - LUKOIL BOARD OF DIRECTORS APPROVES HUMAN CAPITAL MANAGEMENT POLICY
LUKOIL Board of Directors held a meeting in Moscow today. The Board approved the Human Capital Management Policy, which is aimed at further perfecting the corporate culture, enhancing the system of corporate values and developing an efficient talent management system.
11/12/2020 - LUKOIL ENHANCES ITS POSITIONS IN ESG RATINGS
LUKOIL has substantially enhanced its positions in acknowledged international ESG ratings in 2020. In particular, LUKOIL has stepped up in the Sustainalytics Risk rating from 25th to the 11th position among over 50 vertically integrated oil and gas companies participating in the rating.
24/11/2020 - LUKOIL ANNOUNCES IFRS FINANCIAL RESULTS FOR THE THIRD QUARTER AND NINE MONTHS OF 2020
PJSC LUKOIL today released its condensed interim consolidated financial statements for the three and nine month periods ended 30 September 2020, prepared in accordance with International Financial Reporting Standards (IFRS).
10/11/2020 - LUKOIL REPORTS PRELIMINARY OPERATING DATA FOR THE THIRD QUARTER AND NINE MONTHS OF 2020
For the nine months of 2020 LUKOIL Group's average hydrocarbon production excluding the West Qurna-2 project was 2,065 kboe per day, which is 11.6% lower year-on-year. In the third quarter of 2020 hydrocarbon production was 1,885 kboe per day, which is 4.9% lower quarter-on-quarter.
15/10/2020 - LUKOIL BOARD OF DIRECTORS CONVENES EXTRAORDINARY GENERAL SHAREHOLDERS MEETING AND RECOMMENDS INTERIM DIVIDEND AMOUNT
At the meeting of the Board of Directors of PJSC "LUKOIL" held today, the decision was taken to convene the Extraordinary General Shareholders Meeting in the form of absentee voting on December 3, 2020.
08/10/2020 - LUKOIL AND KAZMUNAYGAS SIGN AGREEMENT ON AL-FARABI PROJECT
President of LUKOIL Vagit Alekperov and Chairman of the Management Board of JSC NC KazMunayGas (KMG) Alik Aidarbayev signed an agreement on the Al-Farabi Project (formerly I-P-2 license block) in the Kazakh Sector of the Caspian Sea. The parties intend to proceed with signing a contract on exploration and production of hydrocarbons.
05/10/2020 - LUKOIL STARTS CONSTRUCTION WORKS AT SECOND STAGE OF VOLGOGRAD SOLAR POWER PLANT
LUKOIL entered the construction phase of the second stage of the solar power plant (SPP) project that is currently underway on the premises of LUKOIL's Volgograd Refinery.
The commissioning of the second stage of the SPP will result in incremental generation of more than 24 million kWh of green electricity per year. This is equivalent to an annual reduction of CO2 emissions by 12 thousand tonnes.


text:
Erskine kan syfta på:

 Erskine (bilmärke) – ett amerikanskt bilmärke 1926–1930
 Erskine (namn) – ett förnamn och efternamn samt personer med namnet
 Villa Erskine – en villa på Lovön i Ekerö kommun
 Ralph Erskine - brittisk-svensk arkitekt

Geografi

Australien

 Erskine (del av en befolkad plats), Western Australia, Mandurah,
 Erskine Valley

Storbritannien

 Erskine (ort i Storbritannien), Skottland, Renfrewshire,

Sydafrika

 Erskine (berg), KwaZulu-Natal, UThukela District Municipality,

USA

 Erskine, Minnesota – en ort i Minnesota, Polk County,

Se även
 Erskine Creek

Robotskapade Australienförgreningar
Robotskapade Storbritannienförgreningar
Robotskapade Sydafrikaförgreningar
Robotskapade USAförgreningar

redpajama_set_name: RedPajamaWikipedia


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2. Plan the location of your downspouts strategically.
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Ideally, downspouts should be located at the corners of your home. You may need to add a downspout in the middle of a long stretch of gutter in order to ensure proper drainage. If you aren't sure where your downspouts should go, you can always consult with a roofing contractor.
3. Cut your rain gutters to length on the ground.
Avoid a lot of stress and potential injuries by taking the time to lay out your new rain gutter system on the ground before you begin the installation process. This will allow you to cut the lengths of gutter to their correct size before hoisting them in the air, making the rain gutter sections easier to attach to the face of your home.
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Streamline unit testing: A Q&A with Typemock's Eli Lopian
- David Rubinstein
We had a chance to talk unit testing with Eli Lopian, CEO of test company Typemock. Here are this thoughts on that and other matters:
SD TIMES: Unit testing has been compared to going to the gym in the sense that everyone knows it's good for them, but the time and effort to implement seem daunting. How do companies prep themselves to overcome that initial hurdle, especially when implementing unit testing in legacy code?
ELI LOPIAN: This is a great point, as developers are typically hesitant to touch legacy code. Most developers want to work on the shiny new code and they still see legacy code as a threat and work in "survival" mode – minimal changes and therefore limited growth and innovation.
As you are probably aware, 70% of software costs are attributed to working on legacy code (I personally think that the number is higher). Many don't know that 60% of the work on legacy code is actually code enhancements, which means that features added in legacy code exceed those added in greenfield by more than 140% (!).
The fun fact is that the better engineered the code is (i.e. has unit tests) the more maintenance that code gets, as developers are not scared to modify it and add new features.
Therefore, in order to get over that initial hurdle, leading companies do the following:
They celebrate covering their legacy code and declare: "We touch legacy code" as most of the features go there. It should be on the table, as for many developers it is convenient to set this subject aside, and it is the organization's duty to shed light on this in order to remove the technical debt.
They figure out what the correct legacy code is to unit test. It is the classic 80-20 paradigm; figure out what the 80% is that can be done in 20% of the time, find the areas that get the most changes, those that are prone to bugs and are critical to the system.
Getting the right tools for the job also helps, be it the build server, the unit test framework or the isolation framework. Suggest solutions.
Last but not least, these companies take it all in small bites and don't try to do it all in one go. They take it slowly, get one team up and running and then expand to a zero technical debt policy.
SD TIMES: Are Typemock customers more frequently those looking to streamline preexisting unit testing and TDD practices or are they hoping for a way to ease themselves into the practice?
We see a mix of both. Many companies use our tools to ease themselves into unit testing without any need to modify their existing code, with powerful tools that allow them to get unit tests running. We also see others that use our tools to fill in gaps that were not covered in a streamlined way.
We are actually witnessing a different segmentation between those who think only developers should write the tests as opposed to those who let the computer write it for them. We cater to both. Tools such as mocking, to test a code that uses objects that are neither yet created nor require a slow and complex setup, without constraint to your design, as well as Suggest that writes the tests for you just like a compiler.
We put in a lot of hard work so that developers can make their own choice. They can either accept all tests provided by our solution or they can choose to review each test and either accept, reject or even modify them.
SD TIMES: What sort of research was done before setting out to write the AI model in Typemock Suggest?
We have been working with unit tests, extreme programming, Agile and DevOps for over 15 years now and have accumulated vast experience, data and know-how. Our experience showed us that AI is not enough for creating the correct tests that are also readable, easy to maintain and built for future enhancements. We needed something else… a little bit of "magic.
Several years ago I held several meetings with customers from which I understood that I haven't yet solved the problem of unit testing. I then met with my employees and was frustrated as I didn't have any way of helping them out with our product development.
I went to the beach, looked at the sea and tried to think of how I can really solve the unit testing problem. I decided that in order to clear my mind I would go out for a swim.
I was in the sea, breathing slowly, seeing the shore line between the waves every few strokes, and while I was swimming I suddenly had a thought – I remembered thinking about how I would write a program to solve Sudoku – I wouldn't teach it the same methods that I use – I would simply let it fill in numbers systematically – until it reaches an answer. I suddenly understood that I was trying to automate writing tests the human way instead of the computer way. I was trying to get the computer to understand the context.
Once I grasped that, we managed to come up with the breakthrough and create Suggest — an innovative solution that learns your code base and builds unit tests to cover it, using Fuzzy Logic and patented algorithms to create and rate tests without the need to 'understand' the context.
SD TIMES: What methods were used to train the model?
Our goal is getting to at least 80% coverage, within a reasonable time frame, with no false positives.
In order to do this we built the engine's algorithms using our accumulated know-how. Like in an Agile mindset, we first started with tests that helped us witness whether we reached our goals. We then went on to perfect the results by analyzing millions of lines of code and letting the engine operate on dozens of open-source and private-source code bases. It generated tens of thousands of unit tests which we reviewed and rated, in order to tweak the algorithms and achieve better results. This process is ongoing, and Suggest gets better with every new version we launch.
TDD, Test-Driven Development, unit-testing
About David Rubinstein
David Rubinstein is editor-in-chief of SD Times.
View all posts by David Rubinstein
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HOME > News & Events > SAE Institute News > SAE Institute Students Raise Money for Local Make-A-Wish® Foundation
SAE Institute Students Raise Money for Local Make-A-Wish® Foundation
Students of SAE Institute Nashville's Entertainment Business Program are proud to announce the launch of "Stream-A-Wish". A student-organized initiative to raise money for Make-A-Wish® Middle Tennessee Chapter this holiday season.
Nashville, TN, Dec. 13, 2019 (GLOBE NEWSWIRE) -- SAE Institute Nashville's Entertainment Business Program is proud to announce the launch of Stream-A-Wish in partnership with Make-A-Wish® Middle Tennessee ("Make-A-Wish"). Stream-A-Wish is a student-centered, project-based initiative being undertaken by students from SAE Institute's Entertainment Business program. Entertainment Business students were tasked with developing and executing a business model as a final keystone project prior to graduation. With support from SAE Institute instructors, students leveraged their entrepreneurship skills and presented their Stream-A-Wish campaign to the local non-profit foundation, Make-A-Wish® Middle Tennessee, which also caught the interest from Spotify, TuneCore, and Entertainment Relations executives from Regions and Legends Banks to support the initiative.
Chicago-based singer and songwriter, Brye Sebring, recorded her single "Wonder" at SAE Institute Nashville, to support the Stream-A-Wish initiative. "Wonder" was recorded, mixed, and produced on campus by Audio Student, Kailey Wells, and Entertainment Business Instructor, Zak Jablow. The single was released to all available streaming platforms on December 6, and has already raised over $1,300.
The students pitched their Stream-A-Wish campaign in an effort to receive 1 million streams of their single, "Wonder" by December 2020, and in return, raise $31,000 for the foundation. "The students have worked inside and outside of the classroom to ensure the impact of Stream-A-Wish is felt across the city. They leave nothing on the table," said Entertainment Business Instructor Zak Jablow. "What these students get out of this course is just so cool, and something they should be extremely proud of. It's an experience they can carry with them into the field. I couldn't be any prouder of my colleagues, and what my students have achieved from being part of the Entertainment Business program here at SAE Institute Nashville."
The Entertainment Business program at SAE Institute Nashville teaches students business fundamentals of the music industry in marketing, artist development, entertainment management, entrepreneurship, event planning, and industry best practices. "This keystone project and Make-A-Wish® Middle Tennessee partnership encompasses everything that supports SAE Institute's student-centered active education approach to teaching," said Entertainment Business Program Chair, Anthony Corder. "This is a real-life application of our curriculum and collaboration between the Audio and Entertainment Business programs. In an industry built on relationships, one of our biggest focal points is encouraging the students to invest in themselves and the community."
You can make a difference this year and support the Stream-A-Wish initiative by listening to "Wonder" now available on Spotify via this link. One stream is one more step towards granting a Wish Kid their holiday wishes this year. All proceeds will go towards Make-A-Wish® Middle Tennessee. To learn more about SAE Institute Nashville and the Entertainment Business Program visit usa.sae.edu. SAE Institute is currently enrolling for classes starting January 21, 2020.


Wajid Syed is a Focusing trainer and has been active in teaching psychosocial wellness and Focusing in refugee camps and with aid agencies in western Pakistan for more than ten years. He adapts what he learns to local cultures and looks for ways to expand programming. He has worked with UNWomen for a number of years as a trainer and social worker.


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The Amdavad Ni Gufa, designed by architect B.V Doshi.
Photo Story: 7 Unique Indian Buildings That Won the Biggest Award in Architecture!
These architectural wonders are designed in a thoughtful and careful way, and look stunning.
Post author:Rayomand Engineer
Post category:Architecture / Inspirational
There is something arresting about beautiful architecture. A lot of thought goes into the field, and the Pritzker Prize for Architecture is the fraternity's way of recognising outstanding work. Often called the Nobel Prize of Architecture, the Pritzker Prize has been won among others, by Balkrishna Doshi, also known as B V Doshi, according to The Hindu.
The nonagenarian architect and reputed urban planner has been announced as this year's winner of architecture's highest honour, the first Indian to do so.
Right from iconic designs like the Indian Institute of Management, Bengaluru, to low-cost housing solutions like the Aranya Low-cost Housing (Indore, 1989), that currently houses 80,000 people through a system of houses, courtyards and a network of internal pathways.
Joshi has been influenced by masters of 20th-century architecture Charles-Edouard Jeanneret, also known as Le Corbusier, and Louis Khan. He told The Hindu that his work is an extension of his life, philosophy and dreams.
Well, here are some of the iconic buildings that Doshi designed, that got him recognition and this prestigious prize.
IIM Bangalore:-
The stunning IIM Bangalore campus ensures abundant greenery in and around classrooms. Image Credit: Sanyam Bahga
The iconic management institute's campus is a sprawling delight. The third IIM to be established, after IIM Ahmedabad and IIM Kolkata, its campus on Bannerghatta Road, Bengaluru, was designed by Doshi and completed in 1983.
Known for its unique all-stone architecture and lush woods, the campus occupies an area of over 100 acres in South Bengaluru.
The serene IIM Bangalore campus. Image Credit: Trilok Rangan
The institute has been based on the design of the town of Fatehpur Sikri. The interplay of walls and openings, lights and shadows, and solids and voids changes the building's character during different times of the day and seasons. The high corridors are sometimes open and sometimes partly covered with skylights. The design offers students and faculty the ability to see and feel nature, even when inside the classroom.
Amdavad Ni Gufa:-
The incredible Amdavad Ni Gufa, a brilliant piece of architecture. Image Credit: TravoXpress
This underground art gallery houses the works of artist Maqbool Fida Husain, and the design was inspired when Doshi and Husain met around 30 years before the project even took shape.
Doshi's project description in Architect Magazine describes that the structure designed as an art gallery, transformed and became a living organism and sociocultural centre, due to an unusual combination of computer-aided design, use of mobile Ferro-cement forms and craftsmanship by local craftsmen, using waste products.
The form and space of the Gufa animate the mysteries of light and memories, and the description goes on to explain that the interaction between an artist and an architect gave birth to the most unexpected.
The Gufa has porcelain mosaic tiles, which reflect sunlight and minimise heat, covering the tortoise-shell inspired roof that shelters the undulating cave-like interiors below.
Amdavad Ni Gufa, a beautiful architectural marvel. Image Credit: Ariyasree
The shells are handmade, from reinforcing bars and mesh, covered with cement, and then covered with compacted vermiculite, followed by mosaic pieces.
Sangath Architectural Studio:-
The gorgeous Sangath Design Studio. Image Credit: Aufriss International Design School
This is Doshi's studio, composed of a series of sunken vaults, sheathed in china mosaic, as well as a small grassy-terraced amphitheatre and flowing water details. This building is considered as one that fully describes Doshi, and is a complete combination of his architectural themes from his previous projects.
According to Arch Daily, it has complex interiors and structures, ambiguous designs, edges, vaults and terraces. It also expresses Doshi's desire for a connection between nature and the individual. Rolling mounds, cave-like spaces, terraced land, playful water channels and reflective surfaces are evident. 'Sangath' means 'move together through participation', and the building complex is itself a set of domes and flat roofs at different heights and different angles.
Aranya Township:-
Indore's Aranya Township, a brilliant low-cost housing initiative. Image Credit: Home and Design Trends
Designed for combating the housing problem, this township was initiated by the Indore Development Authority. A rectilinear site of 86 hectares was designed to accommodate around 6,500 dwellings for the weaker sections of society. The project was characterised by bright colours in the facades, railings, grills and cornices commonly seen in the old houses of Indore.
Internal streets and squares in this township are stone-paved, reducing cost and maintenance.
Indore's Aranya low-cost housing complex. Image Credit: Angel Muniz
The city's climate was also taken into account, and thus, a conducive living environment was achieved in Aranya, according to Architecture in Development.
Most of the plots are small in size, and the houses clustered in low-rise blocks. It accommodates around 80,000 people with houses and courtyards, linked by a maze of pathways.
Centre for Environmental Planning and Technology:-
The stunning interiors of CEPT University, Ahmedabad. Image Credit: Fifth Column
Located near university area in Ahmedabad, India, the CEPT University offers undergraduate and postgraduate programmes in areas of the natural and developed environment of human society and related disciplines.
The building is set back 100 ft from the main road and has been shielded by trees, to create a serene atmosphere inside the campus.
CEPT's campus is also full of greenery. Image Credit: Wikimedia Commons
The emphasis is on open, flexible faces with hardly any doors, and since the land was earlier a brick kiln, the site was undulated, giving the opportunity to play with levels.
Inclined skylights on top of the studios let in natural light into the spaces, and the buildings are placed orthogonally along the site. The buildings themselves are spread out, and interspersed with loosely held open spaces. The flowing spaces are traversed by several combinations of paths, thus conveying a sense of continuity and openness.
Institute of Indology in Ahmedabad:-
The stunning facade of the Institute of Indology in Ahmedabad. Image Credit: Kaffeinated Konversations
In Architect Magazine, Doshi has described this project as one that was designed to house ancient manuscripts, a research centre and eventually, a museum. All the elements that one finds in Indian buildings are present here.
Doshi considered lighting, temperature and humidity levels to preserve the ancient artefacts stored inside. Inspired in part by Kurashiki Town Hall, a project by 1987 Pritzker Laureate Kenzo Tange, the building's two stories, high plinth and full-length veranda are all components of traditional Indian buildings.
By his admission, Doshi had studied a Jain upashraya, a home for monks, before designing the institute. He had also met several Jain saints in the city to understand the traditional architecture for this building type.
Tagore Memorial Hall:-
The Tagore Memorial Hall, an excellent example of Brutalist architecture. Image Credit:- _dmk
Designed by Doshi in 1966, this building is a piece of Brutalist architecture. Brutalist architecture flourished from 1951 to 1975 and had descended from the modernist architectural movement of the early 20th century.
Brutalist architecture is distinct by its ruggedness and lack of concern to look comfortable or easy. Rigid frames in reinforced concrete plates provide the outer shell to this hall, according to Architectuul.
The structure has vertical folds 17 m high, increasing in depth from 1.15 m at the base to 2.4 m at the top, with a constant plate thickness of 15 cm.
The iconic Tagore Memorial Hall. Image Credit: Brutalist Architecture
A 'seating bowl' with a capacity of 700 is supported on an independent structure. Sculptural columns and cantilevers of this bowl are in the lobby area. The hall is in fact located on the banks of the Sabarmati River and is supported on individual and strip footings resting on sandy strata.
You may also like:- Bengaluru Architect Builds Unique 'Insta House' That Can Be Installed In a Day!
Well, his creations do look stunning, as proven by the photos. Architect Doshi seems to have left no stone unturned in his quest for the perfect building design.
(Edited by Shruti Singhal)
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Our heartfelt thanks to all of you who honor the memory of Mike through your participation in the annual golf outings and donations to the memorial fund. Your kindness, generosity and support is greatly appreciated and serves as a lasting tribute to our son and brother.
Please feel free to contact the Scrocca family if you need additional information.
All donations are tax-deductable as permitted by law.


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typedef struct TRI_associative_array_s {
  uint64_t (*hashKey) (struct TRI_associative_array_s*, void*);
  uint64_t (*hashElement) (struct TRI_associative_array_s*, void*);

  void (*clearElement) (struct TRI_associative_array_s*, void*);

  bool (*isEmptyElement) (struct TRI_associative_array_s*, void*);
  bool (*isEqualKeyElement) (struct TRI_associative_array_s*, void*, void*);
  bool (*isEqualElementElement) (struct TRI_associative_array_s*, void*, void*);

  uint32_t _elementSize;

  uint32_t _nrAlloc;     // the size of the table
  uint32_t _nrUsed;      // the number of used entries

  char* _table;          // the table itself

#ifdef TRI_INTERNAL_STATS
  uint64_t _nrFinds;     // statistics: number of lookup calls
  uint64_t _nrAdds;      // statistics: number of insert calls
  uint64_t _nrRems;      // statistics: number of remove calls
  uint64_t _nrResizes;   // statistics: number of resizes

  uint64_t _nrProbesF;   // statistics: number of misses while looking up
  uint64_t _nrProbesA;   // statistics: number of misses while inserting
  uint64_t _nrProbesD;   // statistics: number of misses while removing
  uint64_t _nrProbesR;   // statistics: number of misses while adding
#endif

  TRI_memory_zone_t* _memoryZone;
}
TRI_associative_array_t;

// -----------------------------------------------------------------------------
// --SECTION--                                      constructors and destructors
// -----------------------------------------------------------------------------

////////////////////////////////////////////////////////////////////////////////
/// @brief initialises an array
////////////////////////////////////////////////////////////////////////////////

int TRI_InitAssociativeArray (TRI_associative_array_t*,
                              TRI_memory_zone_t*,
                              size_t elementSize,
                              uint64_t (*hashKey) (TRI_associative_array_t*, void*),
                              uint64_t (*hashElement) (TRI_associative_array_t*, void*),
                              void (*clearElement) (TRI_associative_array_t*, void*),
                              bool (*isEmptyElement) (TRI_associative_array_t*, void*),
                              bool (*isEqualKeyElement) (TRI_associative_array_t*, void*, void*),
                              bool (*isEqualElementElement) (TRI_associative_array_t*, void*, void*));

////////////////////////////////////////////////////////////////////////////////
/// @brief destroys an array, but does not free the pointer
////////////////////////////////////////////////////////////////////////////////

void TRI_DestroyAssociativeArray (TRI_associative_array_t*);

////////////////////////////////////////////////////////////////////////////////
/// @brief destroys an array and frees the pointer
////////////////////////////////////////////////////////////////////////////////

void TRI_FreeAssociativeArray (TRI_memory_zone_t*, TRI_associative_array_t*);

// -----------------------------------------------------------------------------
// --SECTION--                                                  public functions
// -----------------------------------------------------------------------------

////////////////////////////////////////////////////////////////////////////////
/// @brief lookups an element given a key
////////////////////////////////////////////////////////////////////////////////

void* TRI_LookupByKeyAssociativeArray (TRI_associative_array_t*, void* key);

////////////////////////////////////////////////////////////////////////////////
/// @brief finds an element given a key, returns NULL if not found
////////////////////////////////////////////////////////////////////////////////

void* TRI_FindByKeyAssociativeArray (TRI_associative_array_t*, void* key);

////////////////////////////////////////////////////////////////////////////////
/// @brief lookups an element given an element
////////////////////////////////////////////////////////////////////////////////

void* TRI_LookupByElementAssociativeArray (TRI_associative_array_t*, void* element);

////////////////////////////////////////////////////////////////////////////////
/// @brief finds an element given an element, returns NULL if not found
////////////////////////////////////////////////////////////////////////////////

void* TRI_FindByElementAssociativeArray (TRI_associative_array_t*, void* element);

////////////////////////////////////////////////////////////////////////////////
/// @brief adds an element to the array
////////////////////////////////////////////////////////////////////////////////

bool TRI_InsertElementAssociativeArray (TRI_associative_array_t*, void* element, bool overwrite);

////////////////////////////////////////////////////////////////////////////////
/// @brief adds an key/element to the array
////////////////////////////////////////////////////////////////////////////////

bool TRI_InsertKeyAssociativeArray (TRI_associative_array_t*, void* key, void* element, bool overwrite);

////////////////////////////////////////////////////////////////////////////////
/// @brief removes an element from the array
////////////////////////////////////////////////////////////////////////////////

bool TRI_RemoveElementAssociativeArray (TRI_associative_array_t*, void* element, void* old);

////////////////////////////////////////////////////////////////////////////////
/// @brief removes an key/element to the array
////////////////////////////////////////////////////////////////////////////////

bool TRI_RemoveKeyAssociativeArray (TRI_associative_array_t*, void* key, void* old);

////////////////////////////////////////////////////////////////////////////////
/// @brief get the number of elements from the array
////////////////////////////////////////////////////////////////////////////////

size_t TRI_GetLengthAssociativeArray (const TRI_associative_array_t* const);

// -----------------------------------------------------------------------------
// --SECTION--                                              ASSOCIATIVE POINTERS
// -----------------------------------------------------------------------------

// -----------------------------------------------------------------------------
// --SECTION--                                                      public types
// -----------------------------------------------------------------------------

////////////////////////////////////////////////////////////////////////////////
/// @brief associative array of pointers
////////////////////////////////////////////////////////////////////////////////

typedef struct TRI_associative_pointer_s {
  uint64_t (*hashKey) (struct TRI_associative_pointer_s*, void const*);
  uint64_t (*hashElement) (struct TRI_associative_pointer_s*, void const*);

  bool (*isEqualKeyElement) (struct TRI_associative_pointer_s*, void const*, void const*);
  bool (*isEqualElementElement) (struct TRI_associative_pointer_s*, void const*, void const*);

  uint32_t _nrAlloc;     // the size of the table
  uint32_t _nrUsed;      // the number of used entries

  void** _table;         // the table itself

#ifdef TRI_INTERNAL_STATS
  uint64_t _nrFinds;     // statistics: number of lookup calls
  uint64_t _nrAdds;      // statistics: number of insert calls
  uint64_t _nrRems;      // statistics: number of remove calls
  uint64_t _nrResizes;   // statistics: number of resizes

  uint64_t _nrProbesF;   // statistics: number of misses while looking up
  uint64_t _nrProbesA;   // statistics: number of misses while inserting
  uint64_t _nrProbesD;   // statistics: number of misses while removing
  uint64_t _nrProbesR;   // statistics: number of misses while adding
#endif

  TRI_memory_zone_t* _memoryZone;
}
TRI_associative_pointer_t;

// -----------------------------------------------------------------------------
// --SECTION--                                      constructors and destructors
// -----------------------------------------------------------------------------

////////////////////////////////////////////////////////////////////////////////
/// @brief initialises an array
////////////////////////////////////////////////////////////////////////////////

int TRI_InitAssociativePointer (TRI_associative_pointer_t* array,
                                TRI_memory_zone_t*,
                                uint64_t (*hashKey) (TRI_associative_pointer_t*, void const*),
                                uint64_t (*hashElement) (TRI_associative_pointer_t*, void const*),
                                bool (*isEqualKeyElement) (TRI_associative_pointer_t*, void const*, void const*),
                                bool (*isEqualElementElement) (TRI_associative_pointer_t*, void const*, void const*));

////////////////////////////////////////////////////////////////////////////////
/// @brief destroys an array, but does not free the pointer
////////////////////////////////////////////////////////////////////////////////

void TRI_DestroyAssociativePointer (TRI_associative_pointer_t*);

////////////////////////////////////////////////////////////////////////////////
/// @brief destroys an array and frees the pointer
////////////////////////////////////////////////////////////////////////////////

void TRI_FreeAssociativePointer (TRI_memory_zone_t*, TRI_associative_pointer_t*);

// -----------------------------------------------------------------------------
// --SECTION--                                                  public functions
// -----------------------------------------------------------------------------

////////////////////////////////////////////////////////////////////////////////
/// @brief General hash function that can be used to hash a pointer
////////////////////////////////////////////////////////////////////////////////

uint64_t TRI_HashPointerKeyAssociativePointer (TRI_associative_pointer_t*,
                                               void const*);

////////////////////////////////////////////////////////////////////////////////
/// @brief General hash function that can be used to hash a string key
////////////////////////////////////////////////////////////////////////////////

uint64_t TRI_HashStringKeyAssociativePointer (TRI_associative_pointer_t*,
                                              void const*);

////////////////////////////////////////////////////////////////////////////////
/// @brief General function to determine equality of two string values
////////////////////////////////////////////////////////////////////////////////

bool TRI_EqualStringKeyAssociativePointer (TRI_associative_pointer_t*,
                                           void const*,
                                           void const*);

////////////////////////////////////////////////////////////////////////////////
/// @brief reserves space in the array for extra elements
////////////////////////////////////////////////////////////////////////////////

bool TRI_ReserveAssociativePointer (TRI_associative_pointer_t*,
                                    int32_t);

////////////////////////////////////////////////////////////////////////////////
/// @brief lookups an element given a key
////////////////////////////////////////////////////////////////////////////////

void* TRI_LookupByKeyAssociativePointer (TRI_associative_pointer_t*,
                                         void const* key);

////////////////////////////////////////////////////////////////////////////////
/// @brief lookups an element given an element
////////////////////////////////////////////////////////////////////////////////

void* TRI_LookupByElementAssociativePointer (TRI_associative_pointer_t*,
                                             void const* element);

////////////////////////////////////////////////////////////////////////////////
/// @brief adds an element to the array
////////////////////////////////////////////////////////////////////////////////

void* TRI_InsertElementAssociativePointer (TRI_associative_pointer_t*,
                                           void* element,
                                           bool overwrite);

////////////////////////////////////////////////////////////////////////////////
/// @brief adds an key/element to the array
////////////////////////////////////////////////////////////////////////////////

void* TRI_InsertKeyAssociativePointer (TRI_associative_pointer_t*,
                                       void const* key,
                                       void* element,
                                       bool overwrite);

////////////////////////////////////////////////////////////////////////////////
/// @brief adds an key/element to the array
/// returns a status code, and *found will contain a found element (if any)
////////////////////////////////////////////////////////////////////////////////

int TRI_InsertKeyAssociativePointer2 (TRI_associative_pointer_t*,
                                      void const*,
                                      void*,
                                      void const**);

////////////////////////////////////////////////////////////////////////////////
/// @brief removes an element from the array
////////////////////////////////////////////////////////////////////////////////

void* TRI_RemoveElementAssociativePointer (TRI_associative_pointer_t*,
                                           void const* element);

////////////////////////////////////////////////////////////////////////////////
/// @brief removes an key/element to the array
////////////////////////////////////////////////////////////////////////////////

void* TRI_RemoveKeyAssociativePointer (TRI_associative_pointer_t*,
                                       void const* key);

////////////////////////////////////////////////////////////////////////////////
/// @brief get the number of elements from the array
////////////////////////////////////////////////////////////////////////////////

size_t TRI_GetLengthAssociativePointer (const TRI_associative_pointer_t* const);

// -----------------------------------------------------------------------------
// --SECTION--                                                ASSOCIATIVE SYNCED
// -----------------------------------------------------------------------------

// -----------------------------------------------------------------------------
// --SECTION--                                                      public types
// -----------------------------------------------------------------------------

////////////////////////////////////////////////////////////////////////////////
/// @brief associative array of synced pointers
///
/// Note that lookup, insert, and remove are protected using a read-write lock.
////////////////////////////////////////////////////////////////////////////////

typedef struct TRI_associative_synced_s {
  uint64_t (*hashKey) (struct TRI_associative_synced_s*, void const*);
  uint64_t (*hashElement) (struct TRI_associative_synced_s*, void const*);

  bool (*isEqualKeyElement) (struct TRI_associative_synced_s*, void const*, void const*);
  bool (*isEqualElementElement) (struct TRI_associative_synced_s*, void const*, void const*);

  uint32_t _nrAlloc;     // the size of the table
  uint32_t _nrUsed;      // the number of used entries

  void** _table;         // the table itself

  TRI_read_write_lock_t _lock;

  TRI_memory_zone_t* _memoryZone;
}
TRI_associative_synced_t;

// -----------------------------------------------------------------------------
// --SECTION--                                      constructors and destructors
// -----------------------------------------------------------------------------

////////////////////////////////////////////////////////////////////////////////
/// @brief initialises an array
////////////////////////////////////////////////////////////////////////////////

int TRI_InitAssociativeSynced (TRI_associative_synced_t* array,
                               TRI_memory_zone_t*,
                               uint64_t (*hashKey) (TRI_associative_synced_t*, void const*),
                               uint64_t (*hashElement) (TRI_associative_synced_t*, void const*),
                               bool (*isEqualKeyElement) (TRI_associative_synced_t*, void const*, void const*),
                               bool (*isEqualElementElement) (TRI_associative_synced_t*, void const*, void const*));

////////////////////////////////////////////////////////////////////////////////
/// @brief destroys an array, but does not free the pointer
////////////////////////////////////////////////////////////////////////////////

void TRI_DestroyAssociativeSynced (TRI_associative_synced_t*);

////////////////////////////////////////////////////////////////////////////////
/// @brief destroys an array and frees the pointer
////////////////////////////////////////////////////////////////////////////////

void TRI_FreeAssociativeSynced (TRI_memory_zone_t*, TRI_associative_synced_t*);

// -----------------------------------------------------------------------------
// --SECTION--                                                  public functions
// -----------------------------------------------------------------------------

////////////////////////////////////////////////////////////////////////////////
/// @brief lookups an element given a key
////////////////////////////////////////////////////////////////////////////////

void const* TRI_LookupByKeyAssociativeSynced (TRI_associative_synced_t*, void const* key);

////////////////////////////////////////////////////////////////////////////////
/// @brief lookups an element given a key and calls the callback function while
/// the read-lock is held
////////////////////////////////////////////////////////////////////////////////

template<typename T>
T TRI_ProcessByKeyAssociativeSynced (TRI_associative_synced_t* array,
                                     void const* key,
                                     std::function<T(void const*)> callback) {
  // compute the hash
  uint64_t const hash = array->hashKey(array, key);

  // search the table
  TRI_ReadLockReadWriteLock(&array->_lock);
  uint64_t const n = array->_nrAlloc;
  uint64_t i, k;
  i = k = hash % n;

  for (; i < n && array->_table[i] != nullptr && ! array->isEqualKeyElement(array, key, array->_table[i]); ++i);

  if (i == n) {
    for (i = 0; i < k && array->_table[i] != nullptr && ! array->isEqualKeyElement(array, key, array->_table[i]); ++i);
  }

  T result = callback(array->_table[i]);

  TRI_ReadUnlockReadWriteLock(&array->_lock);

  // return whatever we found
  return result;
}

////////////////////////////////////////////////////////////////////////////////
/// @brief lookups an element given an element
////////////////////////////////////////////////////////////////////////////////

void const* TRI_LookupByElementAssociativeSynced (TRI_associative_synced_t*,
                                                  void const*);

////////////////////////////////////////////////////////////////////////////////
/// @brief adds an element to the array
////////////////////////////////////////////////////////////////////////////////

void* TRI_InsertElementAssociativeSynced (TRI_associative_synced_t*,
                                          void*,
                                          bool);

////////////////////////////////////////////////////////////////////////////////
/// @brief adds an key/element to the array
////////////////////////////////////////////////////////////////////////////////

void* TRI_InsertKeyAssociativeSynced (TRI_associative_synced_t*,
                                      void const*,
                                      void*,
                                      bool);

////////////////////////////////////////////////////////////////////////////////
/// @brief removes an element from the array
////////////////////////////////////////////////////////////////////////////////

void* TRI_RemoveElementAssociativeSynced (TRI_associative_synced_t*,
                                          void const*);

////////////////////////////////////////////////////////////////////////////////
/// @brief removes an key/element to the array
////////////////////////////////////////////////////////////////////////////////

void* TRI_RemoveKeyAssociativeSynced (TRI_associative_synced_t*,
                                      void const*);

////////////////////////////////////////////////////////////////////////////////
/// @brief get the number of elements from the array
////////////////////////////////////////////////////////////////////////////////

size_t TRI_GetLengthAssociativeSynced (TRI_associative_synced_t* const);

#endif

// -----------------------------------------------------------------------------
// --SECTION--                                                       END-OF-FILE
// -----------------------------------------------------------------------------

// Local Variables:
// mode: outline-minor
// outline-regexp: "/// @brief\\|/// {@inheritDoc}\\|/// @page\\|// --SECTION--\\|/// @\\}"
// End:

redpajama_set_name: RedPajamaGithub


Twenty-one characters may be played by a cast as small as four men and three women.
This folk adventure play for young people, set in the fifteenth century, shows how a cruel and thoughtless tyrant is transformed into wise and just ruler.
The Sultan of Arabia, Mustabir Olaf, conquers Malta and refuses its people freedom to practise their religion, or maintain a national identity.
The people resist, but might equals right until by magical means the Sultan is reduced to a king of fools.
He then learns, through suffering humiliation, the true meaning of kingship.


text:
Nightly News Roundup: 2010.08.27
Teaser image for the next Bit.Trip game released, Chinese Mario fans congregate and the U.S. Supreme Court preps to judge California's violent games law.
By M. Noah Ward. Posted 08/27/2010 21:22 1 Comment	 ShareThis
Unreleased Bit.Trip Game Gets Conceptual
Several of us at Nintendojo love Gaijin Games' Bit.Trip WiiWare series, and the fifth game in the six-game series is closer to tangibility with its name (Bit.Trip Fate) and teaser art released, which is shown below. Other than guessing that gamers will jockey back and forth between "warm" and "cool" areas, figuring out the new rhythm/puzzle game's premise is unlikely, especially since the Bit.Trip series has had its share of beautiful but obscure artwork. To compare, the concept art for Bit.Trip Runner, which was released a few months ago, can be seen at the top of this story.
The Bit.Trip series is known for its simple-yet-difficult gameplay, '80s-styled pixel visuals and catchy chip-tune soundtracks. The games are often a bargain on WiiWare, with the first three games having a price point of 600 Nintendo Points, while Runner has an 800 point price.
Source: Gaijin Games
Chinese Show Massive Love of Mario Cosplay
If you ever find yourself walking through Chifeng City, China, you'll know you're in hardcore Mario-loving land. 230 students there– presumably out of 519 total "participants"– dressed up as Mario in an event organized by the New Weekend of North News and Chifeng Animation Association (NWNNCAA– not much of an acronym-friendly name). Guinness World Records decided this feat was worth immortalizing and officially named it the "largest gathering of people dressed as the Nintendo character Mario."
As Tidman and Wampler will tell you, cosplaying is a glorious pasttime, and seeing this much concentrated Mario (and Luigi, and Waluigi) love is almost enough to encourage our entire staff to get matching costumes. Almost. Until then, you'll just have to imagine Evan, Tidman and I in our Professor Layton cosplay– sadly undocumented by us or Guinness.
Source: GameCulture
U.S. Supreme Court Sets Date to Hear California Game Law Case
Nothing like dropping the serious news under two pieces of fluff. With written arguments already accepted, the U.S. Supreme Court will hear verbal arguments for and against California's anti-violent-video game law on Tuesday November 2, 2010. The bill has a long, five-year history that will have its constitutionality ultimately decided at the United States' highest court, generating repercussions for folks who decry the impact of violent video games on children.
Here's some background on the battered law. In 2005, California's Governor Arnold Schwarzenegger signed California Assembly Bill 1179 into law. The bill, authored by California state senator Leland Yee, banned the sale and rental of "violent" video games (note a specific Entertainment Software Association rating is not cited) to California minors. Retailers who violated this law would be charged a $1,000 fine for each offense. Further, any such "violent" games would require a two-by-two inch sticker reading "18" placed on their covers to ensure there was no ambiguity of the minimum age required to play the game.
The law never took effect, as it was immediately challenged in court by the ESA and the Interactive Entertainment Merchants Association. At that time, a judge swiftly imposed an injunction to stop the law in its tracks. In 2007, a circuit court judge officially struck the law down as unconstitutional (games are protected by the first amendment's freedom of expression clause), much as similar laws were dismissed in Louisiana and Michigan. The California decision was appealed by Yee, however, and a 2009 appellate court judge reconfirmed the unconstitutionality of the law, so the case was appealed yet again to the Supreme Court, where it will meet a final decision, hopefully complemented by plenty of Phoenix Wright-styled finger pointing and "Objections!"
Source: Gamespot
One Response to "Nightly News Roundup: 2010.08.27"
xeacons says...
If you have not already done so, head on over to the ECA action center now and sign their petition against Schwarzeneggar!


We offer a variety of outdoor team building adventures in Kern River including river rafting, camping, backpacking, team building, and more.
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