San Diego Padres pitcher Fernando Tatis Jr. on Feb. 21, 2018.
Even as swiftly as Fernando Tatis Jr. rocketed up prospect rankings, the Padres wouldn't have had to twist logic too tightly to justify bouncing their shortstop of the future back to the California League to start the season.
A bout with strep throat sapped 12 pounds from his frame this spring. He had one hit and five strikeouts over his last 11 Cactus League at-bats. He'd spent only a handful of games in the Texas League the previous season. He was just a few weeks removed from his 19th birthday.
Yes, an assignment in Lake Elsinore would have been a safe place for Tatis to start his second full year in pro baseball.
The Padres rarely play things that way under General Manager A.J. Preller.
"I think we'd rather challenge someone," Preller said in April as Tatis limped through a trying first month at Double-A San Antonio. "Especially someone who has a lot of talent, specifically from a make-up standpoint — you challenge him.
Preller's thinking has been right on the money.
A post-April surge has carried Tatis right into the starting lineup of Tuesday's Texas League All-Star Game, where he's one of a league-best nine Missions representing the Padres in the Double-A showcase.
San Antonio Missions (MLB.com top-30 ranking): SS Fernando Tatis Jr. (No. 1), RHP Cal Quantrill (No. 4), LHP Logan Allen (No. 9), OF Josh Naylor (No. 14), C Austin Allen (No. 27), LHP Brad Wieck, RHP Rowan Wick, 3B Ty France, INF River Stevens.
That allotment is a who's who from the Padres' vaunted farm system, a consensus top-three system according to Baseball America, ESPN and MLB.com.
Among San Antonio's invitees, left-hander Logan Allen leads the Texas League in wins (8) and strikeouts (85) and is second in ERA (2.43); catcher Austin Allen is No. 1 with 154 total bases; first baseman Josh Naylor is tops in RBIs (54), and Tatis — the face of the Padres' youth movement — is among league leaders in several offensive categories while batting .276/.350/.492 with 12 homers, 20 doubles and 34 RBI.
Officially, the organization gently reminded Tatis that it's probably in his best interest to take the high road in such instances. Privately, they loved a healthy mindset shining through a .177/.231/.333 start to this year's Double-A campaign as it did through last year's underwhelming first month at low Single-A Fort Wayne (.230/.313/.345).
In fact, that's precisely what the player development department wanted to tap into when they asked Tatis to again bypass the California League altogether (he jumped from Fort Wayne to San Antonio late last season).
Learn to fail and rebound now because similar lessons are without mercy in the majors.
And Tatis' knees and elbows, so to speak, were good and bloodied by the time May arrived.
Ranked as high as the No. 3 prospect in the game by ESPN's Keith Law, Tatis walked in just six percent of his April plate appearances, struck out in 33 percent of them and hadn't swiped a single base, a particularly impactful phase of his game a year ago when he compiled an .877 OPS with 22 homers, 75 RBIs and 32 steals between Fort Wayne (117 games) and San Antonio (14).
Yes, Wellman observed a healthy mindset that allowed him to remain a plus in the field and on the bases. He also saw a young player expanding his zone with each passing at-bat.
A move to the leadoff spot went a long ways toward Tatis, from a pitch-selection basis, getting back to basics.
His job each at-bat was to get on base.
Slowly but surely, Tatis picked out better pitches. While he's installed some slight mechanical changes, it's his overall athleticism and talent that have carried him to the top of the Texas League leader boards in runs (66, first), total bases (146, second), homers (12, tied for sixth) and hits (82, tied for seventh).
"I learned a lot last year," said Tatis, who is hitting .302/.392/.551 with 11 homers and 12 steals since moving into the leadoff spot. "I learned the season can but long but at the same time short. I just trust myself, believe in what I'm doing with my hitting coach and I'm bringing to the field every day.
Like it may the next time he finds himself in a rut.
Like the Padres hoped — believed — it would.


This section contains various utility programs that make using Zero Install easier.
0downstream can be used to automatically create and update feed files for an existing open source project page on a site like github, pypi or rubygems.org.
0publish edits feed files in place. It loads the file, transforms it in some way (such as setting the release date, or adding a new implementation) and then writes it back out again. If the input file was signed, it will resign it when saving with the same key by default. You can also use it to add a signature, or to change the signing key. It is particularly useful in release scripts.
0release can be used to make new releases of your software. It handles details such as setting the version number and release date, tagging the release in your version control system and updating your Zero Install feed.
0repo helps you to maintain a repository of 0install software for others to use. It takes a new release generated by e.g. 0template and adds it to its collection. Then it generates a set of static files which you can upload to your web hosting provider.
mkzero is a light-weight alternative to 0release. It doesn't support version control integration, tagging, or local feeds. It is useful for quickly publishing simple packages.
0template generates the XML for one version of a program from a template. It is a useful replacement for 0downstream for more complex programs (e.g. source code that must be compiled or programs with dependencies).
pkg2zero publishes a Debian or RPM package in a Zero Install feed.
The Zero Install Maven Integration connects the world of Zero Install with Apache Maven. With this project Zero Install gets access to the huge number of Java projects available at Maven Central. This is made possible by two components: the pom2feed-service and the pom2feed-maven-plugin.
A .NET equivalent of 0publish-GUI (e.g. for Windows).
0compile creates binaries from source code, either for your own use or ready for publishing on the web through Zero Install. It can use Zero Install to download any build dependencies (compilers, header files, build tools, etc). This is useful if there is no binary for your platform, or if you wish to modify the program in some way.
Make-headers is an extremely simple script for creating -dev packages (packages containing only header files) from ordinary source releases.
0test runs the self-tests for a given program with various version combinations.
0export creates a self-extracting installer for a given program, for distribution on CDs, etc.
0mirror keeps an archive of Zero Install feeds and GnuPG keys and exports them for publishing on a web-server.
0share allows peer-to-peer sharing of Zero Install packages.


text:
How can you say you love me, and bring me so much pain?
How can someone so special be driving me insane?
All the times I remember being in your arms,
I used to feel so safe; you used to bring no harm,
Please tell me you're kidding, and she's really just a friend,
Help me please! I can't seem to comprehend,
I can't seem to remember, when you started acting different,
But now that I have time, I remember the abandonment,
Why did you have to go and do this, why did you have to cheat on me?
Did she make you feel that good, why couldn't she just let you be?
You don't really know, the pain I feel inside,
But don't worry though, this kind of feeling I'll learn to hide,
If you really think she'll make you feel, the things I made you feel,
Then go on and be with her, my heart will slowly heal,
But when you realize, that this was all just a mistake,
I won't be here to take you back, and the pain you'll have to take,
Te deseo lo mejor, I will always wish you the best,
And in the future when you see, all you'll feel is regret….

redpajama_set_name: RedPajamaCommonCrawl


text:
Home News Local
Naples man wins $1 million from Florida Lottery scratch-off ticket
9:39 PM EST, Tue January 12, 2021
NAPLES, Fla. — A 28-year-old Naples man won $1 million from a scratch-off Florida Lottery ticket.
Osmairo Parra-Urdaneta of Naples claimed his winning from THE FASTEST ROAD TO $1,000,000 by using a secured drop box located at the Fort Myers District Office.
Parra-Urdaneta bought the winning ticket from a Racetrac located at 9089 Immokalee Road in Naples. The store will get a $2,000 bonus commission for selling the winning Scratch-Off ticket.
The scratch-off cost $30 and features 155 top prizes of $1,000,000 and over $948 million in cash prizes! The game's overall odds of winning are one-in-2.79.
Americans urged to participate in Inauguration festivities virtually
Cape Coral woman seriously injured in Sarasota County I-75 crash
President Joe Biden signed 10 executive orders Thursday, including requiring...
It's expected to begin at 4 p.m.
New order makes Florida residents priority at COVID-19 vaccination sites
Availability of the COVID-19 vaccine in Florida is extremely limited.


Those of us who clamor for richer stories and deeper characters in games have a familiar laundry list of requests. We want stories that reflect on the world we live in. We want cleverness, subtlety and ambiguity. We want characters, especially women protagonists, who add up to more than a trait and a motive. We want a game that unfolds its narrative, not merely to extend gameplay, but to explore its themes and characters.
Hey, guess what? Final Fantasy XIII is precisely such a game. Surprised? Me too. Expected a fastball. Got a change-up.
FFXIII is a post-9/11 meditation on fear, loss, and the desperate measures they provoke. It depicts leaders who "don't run from fights," sending innocent citizens to their deaths. It explores the ramifications of demonizing an enemy to build public support for a war machine. It exposes the hollowness of jingoism in the face of profound personal pain.
It's impossible not to see parallels between the 'Purge' - the Sanctum's publicly sanctioned internment of citizens suspected of sympathizing with the enemy - and the WWII 'Yellow Peril' internment of Japanese Americans (or more recent government surveillance of 'suspect' citizens). It's equally impossible to miss FFXIII's indictment of the media's culpability in spreading the administration's message that human rights are dispensable when national security is perceived as threatened.
Snow, FFXIII's beefy male protagonist, delivers most of the familiar heroic platitudes, "We are the heroes, after all! Let's prove it!!" but unlike other FF games, FFXIII often treats him ironically. After exhorting a group of defenseless refugees to join the fight, he arms them, stirs them to battle...and then watches as they die, shot by enemy soldiers, or falling to their deaths in a massive platform collapse. The bloody toll of war is never far from view in this game.
The women of FFXIII are the game's main narrative attraction, driving the action forward and providing most of the game's thematic depth. Throughout FFXIII's long story, it's the women who display the most savvy. They're more decisive, less panic-stricken than their male counterparts. Early in the game, it's a woman - a mother with a frightened son - who courageously saves Snow's life before losing her own. And it's a woman - Lightning's sister - who imparts the story's central mission: save Cocoon, their home.
Lightning is the game's real protagonist, a tormented, woman-with-no-name lone wolf with mad ninja skills and reckless cunning. She instigates the rebellion in the game's opening scene, and as the story progresses, she is nearly always the one pushing it forward. Resisting her authority comes at a cost, as Snow discovers when Lightning lays him out flat with a roundhouse punch.
As you might expect, there's more to Lighting than meets the eye, and FFXIII does an especially good job of slowly unpeeling her layers and breaking through her defenses. Her voice actor, Ali Hillis, is a major discovery, whose only previous game VO was Mass Effect 1&2's Dr. Liara T'Soni. She's also set to appear in Bioware's upcoming Star Wars: The Old Republic.
Games rarely depict human suffering. They're much better showing us the circumstances surrounding it. Final Fantasy games have tried, but always as fantasy-tinged youth melodrama. FFXIII doesn't stray far from that path, but it mostly avoids the cloying teen angst of previous games. Repeatedly in my many hours with this game, I've discovered moments of genuine sorrow and compassion. Its fractured, multi-POV storytelling feels fresh and convincing to me, despite the occasional cliche or awkward vocal performance.
It's as if Square-Enix decided to push the game in two opposite directions: ease the complexity of the game's formal systems and increase the complexity of the game's storytelling. As a result, FFXIII feels like it's targeted at grownups eager for a deep, but accessible RPG with a big story. Longtime fans may miss the towns, merchants, and NPCs, but I've found their absence eliminates clutter and streamlines a game formula that's grown bloated and tiresome.
FFXIII is more than its story and characters, of course, and there's much to be said about the game built around them. Simon Ferrari at Chungking Expresso says it far better than I ever could, and I strongly encourage you to read his studious take on "the purity" of FFXIII's gameplay systems.
Final Fantasy XIII admonished me with a helpful reminder. Playing a game yourself is the only way to understand what that game says to you. FF games carry more game culture baggage than any franchise I can think of. We know all about them, so they're easy to dismiss. And sometimes maybe they are (FFX-2?).
FFXIII made me sit up and pay attention. It's a beautiful game of stellar craftsmanship with gorgeous cutscenes. In other words, it's another Final Fantasy game. But if you play it - and you must be patient because the game takes its time - you may find it's much more than that.


Why would I top up my old insulation?
If your insulation is more than 15-20 years old, it would have been only 50-80mm thick originally, and is not stopping your heat loss/gain. You will improve the temperature by 4-8 degrees by improving your insulation, as well as saving yourself hundreds of dollars each year.
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Do I lay batts on the old material, or pump insulation over the existing batts?
If your existing batts are very neatly laid, without settling or disturbance, it may be possible to effectively lay new batts on top of the old material. If you have degraded batts, or loose insulation on top, it is not effective to put batts on old material (see Removing old Insulation).
The most effective way to top-up old material is to pump insulation onto the old material. This will fill up every missing piece and gap, and bring all the insulation up to a consistent R-Rating through-out the home. CSIRO figures state that every 1% gap drops the efficiency of the insulation by 5%, and if your insulation has 5% gaps, you have lost 30% of the benefit of your insulation!!
What types of insulation can be pumped over the old material?
There are 2 forms of material that can be pumped over the existing material, being Cellulose or Rockwool.
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What if I want to use batts?
We are happy to use batts if that is your preference, but we will inspect the job first and advise if you will receive any benefits by laying batts on top of old batts. It may be better to remove and replace the old material if you prefer batts.
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The Hyphen asked various teachers to share their thoughts and words answering multiple questions about gender. Hear what parts of Lick FACULTY have to say for the theme of the week.
I have three hopes for our students as they head off to college and life beyond high school. The first is that I want our graduates to feel comfortable in their own skin. What I mean by this is that I don't want anyone to feel as though she has to change the way she looks or what she says or does in order to fit in to a group of peers. However, having said that, I also want all of our students to understand the core tenet that all people deserve respect. Being true to yourself and respecting everyone can feel like opposing goals at times. For example, in order to stand up for something you believe in, you may need to disagree vehemently with someone. This is where respect ultimately is most important, for we can disagree and still see the humanity in our adversaries. Lastly, I want our graduates to be practitioners of rescue, meaning when then see someone being treated badly, they step in to help, when they see someone in need, they have compassion for the person, and when they see an injustice, even if it is a mean joke, they do not stand by, but stand up and call out the injustice. Though I understand that this response does not necessarily address gender specifically, I believe that these characteristics are core understandings that apply to the ways we treat everyone.
I don't really have any one personal story to share about how I have been treated differently because I was a girl. A good friend of mine once said to me, "Anna, the difference between boys and girls is that boys are stupid and girls are crazy." I guess this just made me think: "Whether you are a boy or a girl, we all have our own issues to deal with. No one's perfect, get used to it." What's most important for Lick students to remember in terms of prejudice, gender, and stereotypes? Don't stop yourself from being you, and don't shut people out of your life because they have different values than your own. You don't have to be judgmental in order to make good judgements in life; no one's perfect, so find a way to be nice and get along with as many people as you can.
[How Lick handles instances of disrespect in gender] depends on the level of disrespect and whether it was witnessed and or reported. We have frequent conversations about the topic in various contexts among the adults in our community. Depending on how widespread the disrespect appears to be, there might be a community-wide conversation, or else smaller interventions with the students accused of disrespect. Unpacking our collective baggage about who we think we are and who other people think we are will take a lifetime of creative and committed effort! Ask yourself lots of questions as you move through the world. Check your assumptions and habits around identity. What kind of person do you want to be? What messages have you learned, directly or indirectly, about what it means to be a ————— (fill in the blank with any of your perceived identities). Are you participating in upholding any stereotypes, either consciously or unconsciously, through how you present yourself, how you behave, how you speak, to whom you speak, what you say, or any other way that you participate in your daily life? If so, is this what you want to be offering the world with through your body and mind? If not, are you willing to try something different, and challenge your own beliefs and habits?
The essential question for last week's senior ethics workshop was, "How do I find purpose and act with compassion and responsibility as a young man or a young woman?" Even though gender is a social construct, it is very real and affects us every day, in ways that are hard to predict. Gender roles are changing and fluid, and there are no longer clear models from previous generations. We asked students to think about how society's messages about gender can make it hard to act naturally in complex social situations, and to strive to honor all sides of our personalities, traditionally masculine and feminine.


Whether travelling for the first time to the UAE or welcoming Parents, Friends and Relatives, you now have the option of receiving the warmth and hospitality of the Arab culture with our meet and greet service at Dubai International Airport's Terminal 1, 2 and 3, Sharjah International Airport and Abu Dhabi International Airport.
1. Meet and assist service at Sharjah, Dubai & Abu Dhabi Airports on arrival.
2. Personalized welcome pack with all necessary information about Dubai and the UAE.
3. Return transfers from Hotel to Dubai, Sharjah & Abu Dhabi Airport.
booked 24 hours prior to arrival/departure.
* Available only in Terminal 1 and needs to be booked 24 hours prior to arrival/departure.
Service for passengers transferring between flights at Dubai International Airports. This could be either between terminals or within the same terminal.
hospitality of the 24-hourMarhaba Lounge.
• The lounge offers an enhanced range of services for departing/transit passengers. The lounge can be used by any traveler and is not exclusive to those using Marhaba Meet and Greet services.


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Is this your first time in San Francisco? Let's acquaint you to our northern California treasure by showing you the main attractions and tailoring what's around them to your desires. Or are you a veteran of The City? We can go more in-depth and show you the locals-only spots, ones you won't find listed on Trip Advisor or Yelp.
Yosemite is our favorite, the spot where we spend the majority of our time, and for good reason. This first piece of protected land on earth, the birthplace of big-wall rock climbing, is magnificent, and we can show you Yosemite like a local—beyond Tunnel View.
Do you want a luxurious ride from San Francisco to Los Angeles? Do you want to see California without the hassle of logistics or planning? Come with us, your professional guides and coordinators. We can show you California in a classy, yet down-to-earth and friendly manner.
For all Napa and Sonoma wine tours, please contact our friends and partner luxury tour company, Bin 415 Private Tours.


text:
"Inghimasis"…Fourth Generation of ISIS's Bombers - ASHARQ AL-AWSAT English Archive
"Inghimasis"…Fourth Generation of ISIS's Bombers
by Hamza Mustafa | Jul 10, 2016 | Features |
In battles of the Iraqi army against ISIS to liberate Saladin in 2015, the terrorist organization had involved , for the first time, the "fourth generation" of ISIS's suicide bombers called "Inghimasis" or (suicide fighters), who represent a significant source of fears for their opponents because they fight till the last breath before they explode themselves.
"Inghimasis" differ from other bombers' generations who carry explosive belts and head toward their targets, because they are more committed to their organization and its principles. Expert in armed group affairs Hisham al-Hashemi told Asharq Al-Awsat that the suicide fighters are actually a special faction of ISIS, which pledged victory or death and never to be captured or to run away.
Members of this faction often have six characteristics in common including strong body structure, takfiri ideology, terrorist history, and excess of courage and volunteering spirit.
Hashemi added that Inghimasis are the main players of ISIS, and represent a source of terror in Syria. He noted that the kick off of this faction was in 2006, when a suicide fighter known as "Abu Mohammad al-Loubnani" wanted to raid Abu Ghraib prison.
According to information that accompanied ISIS's expansion in all areas of Iraq, we can say that the organization worked hard on developing its performance and tools at the same time since it announced the Caliphate. ISIS tools included the materials it is using in bombing operations, weapons it gained from the Iraqi army in Mosul, and the funds it receives by selling the wells of oil it controlled in Iraq and Syria.
Yet, the most dangerous factor in ISIS's performance is the new generation of suicide bombers who join the organization from different countries worldwide, particularly following the announcement of the Caliphate and the pledge of allegiance to Abu Bakr al-Baghdadi.
Although ISIS's expanded and controlled one third of the Iraq's surface, many factors have changed the scene. The USA has announced the composition of international coalition that has included around 60 countries to combat the organization. Iraq has also taken a number of measures like the discharge of Nuri al-Maliki, the restructure of the national army, and the composition of the tribal crowd to fight ISIS.
Yet, the real change appeared in September 2014, when the U.S.-led international coalition kicked off its air strikes against vital sites in the core of ISIS, which led the organization to lose 30% of the surface it previously controlled. The regression that occurred in ISIS's financial and geographic resources pushed it to involve the so-called Inghimasis.
MP Mohammad al-Karbouli, member in the security and defense committee in the Iraqi parliament told Asharq al-Awsat that the suicide fighters represent a psychological war, in which the media plays the biggest and most dangerous role.
He added that media is one of the main weapons of the fourth generation, which works on exaggerating news, provoking proactive chaos, and disturbing stability by spreading sectarian discord.
Before 2015, Inghimasis or the fourth generation of ISIS's bombers didn't exist. Yazan al-Jabbouri, leader in the tribal crowd from Saladin told Asharq al-Awsat that Inghimasis emerged in the battles of Baiji and caused the Iraqis major losses, as they don't think twice before implementing any suicide operation.
He added that despite the terrorist organization is facing hard losses in many regions in Iraq, it is increasing operations implemented by suicide fighters, aiming to prove that it still exists and able to cause devastation. The latest attack in Karada killed more than 300 Iraqi civilians and wounded hundred others, shows that despite ISIS is losing its control surface, yet it is still capable of fulfilling a destructive role.
Hamza Mustafa


text:
Movement Matters: An Interview with Jose Santiago Perez
By Michael Workman on September 15, 2017
Movement Matters is a monthly column by Michael Workman that investigates performers whose work intersects politics, policy, and issues related to the body as the locus of socio-cultural dialogues on race, gender, ability and more.
For this installment, we sit down with visual, performance and movement artist Jose Santiago Perez to discuss absence as an appropriate artistic response in performance, and the influences of theoretical thinking on dance and performance in their work. An edited transcript of the interview is presented here.
"With/Held (Aproxymate)", Soft Sculpture, International Museum of Surgical Science. Photo by Olive Stefanski
Michael Workman: You're originally from Los Angeles, correct?
Jose Santiago Perez: Yes, I'm originally from L.A., a first generation immigrant from there. I lived in L.A. until about 2002 and then I started to move up the west coast. Right before moving to Chicago in 2013, I spent about ten years in the Bay Area. So, in terms of movement and dance, my first exposures were in the Bay Area — so, Keith Hennessy and Ralph Lemon's work in San Francisco, and even just historically too, there's Anna Halprin.
MW: Right. Especially with Halprin the approach is rooted in nature, as opposed to [Merce] Cunningham's conceptualist, interdisciplinary New York school. I've been tracking your work for awhile, and remarked on seeing some of the sculptural work you have up recently at the International Museum of Surgical Science. You approach art, movement and performance as intimately connected, and it was that intersection in your work that drew me to want to learn more.
JSP: Yes, I was having this conversation with Colin Pressler, the curator [at the IMSS], about how my focus was starting to shift away from the live element of those sculptures — having the performance itself withheld from the audience and just having the artifact. And thinking about the climate we're in right now — I haven't really made the connection, but there's something about this particular embodiment that I'm in right now that feels a little more vulnerable than usual. It's hard to talk about because it's really complicated, but I can only really talk about it from being inside the performance and having a certain kind of gaze on my body as a sort of brown, effeminate male. There's something difficult to manage around that. I haven't fully figured out my position right now but it feels like a way for me to retain some agency around how and who gets to gaze on my body, and who gets to consume that. I kind of feel like, by withholding it a little bit, I get to retain some agency. So, how do we talk about performance-based sculpture when the performance itself is withheld? It starts to get a little bit tricky, and so when it came to how I would proceed at Defibrillator, that aspect came out a lot more.
MW: You're referring to your upcoming night of performance at Defibrillator with UK-based artists Gary Winters and Claire Hind?
JSP: Yes. Joseph Ravens [the director of Defibrillator Gallery in Noble Square] reached out and Mark Jeffries at SAIC [the School of the Art Institute of Chicago]. The SAIC Performance department is putting together a program, so I think [Ravens] was trying to pair guest artists with recent alumni. They'll be showing work in the main space of the gallery and I'll be showing downstairs. There's this Thursday evening programming they just started doing called Tiny Garage, and we'll all three have open studio during that time. So for that, I think I will have my body in the space and available and that's a shift I'm working with right now. It's a little clunky, I'm not really sure where and how that'll work out but given the kind of conflicts in the world we live in right now — I feel like I'm in a protective, survival mode. So if I can exert some energy and agency over how my body's consumed — by whom and at what time — even if it's the illusion of agency or a fantasy of empowerment, I'm willing to grasp that and, just in terms of myself—I'm incredibly shy as a performer—there's a way in which this kind of gestural way of working allows me to honor a way of being in the world too, which is weird, right? Because I know there are a lot of shy performers and it's like, "Why are we even working in this mode anyway?!"
MW: Well, sure. Part of it is the reflection you get from the introspection and that you need some way to put it out there into the world?
JSP: Yes, and I'm also interested in this idea of performance not being the product itself, but a mode of production, a process of making.
MW: I love that. You've read Andre Lepecki? I'm very steeped in these kinds of ideas in my own work about the expanded field of dance as choreographic practice, with the work product being the interaction that takes place.
JSP: Yes, when I was at SAIC Lin Hixson really turned me on to Lepecki, and especially one short piece called Ghostly, about movement and spectrality. It resonated with me because that was the kind of work I was doing then.
MW: It's interesting. And frankly, Lepecki is writing in dialogue with a lot of theorists in and around Chicago who are writing and thinking about dance, but also about movement and performance art in a larger sense, which for me is rooted in the historical avant-garde. I've written a lot digging in and finding points of connection across the disciplines about these ideas, the work of Susan Manning, Sally Banes, both of whom Lepecki refers to repeatedly, and lately you have Elise Archias. These kinds of thinkers, fostering these locally-rooted philosophies of the art forms that define its international outcomes.
JSP: Yes, exactly.
Jose Santiago Perez's work "Soft Sculpture" is on view at the International Museum of Surgical Science, 1524 N. Lake Shore Dr. through Oct. 1. Additional upcoming events include contributions to the Tiny Garage series Sept. 30 at Defibrillator Gallery, 1463 W. Chicago Ave.; performance documentation displayed Sept. 24-30 at Roman Susan Gallery, 1224 W. Loyola Ave.; and participation in "Moving_Image_00:02," a biannual festival of moving image works created by Chicago artists taking place Sept. 22 at Latitude, 1821 W. Hubbard St.
For more information on the artist, please visit josesantiagoperez.com.
Please send questions, comments or tips to Michael Workman at michael.workman1@gmail.com. Each Spring and Fall, as a corollary to the Movement Matters column, we also present a series of symposia and performances at different locations throughout the city based on topics developed out of and indexed from both the columns and live discussions.
Our next event will be the Artist's Roundtable at Comfort Station on Sunday, Oct. 1 at 2pm, followed by The Creative Industrialization of Social Practice at Defibrillator Gallery on Monday, Oct. 9 at 7pm. Each live event is filmed for adaptation to the Movement Matters documentary web series on dance, performance and movement art, premiering in 2018 on Open TV. Please join the Movement Matters Facebook page for information on additional forthcoming symposium, installments in our performance series, broadcast dates and times, archives of past columns, and to join in on future conversations.
Michael Workman
Michael Workman is an artist, writer, dance, performance art and sociocultural critic, choreographer, and curator of numerous art, literary and theatrical productions. In addition to his work at The Chicago Tribune, Guardian US, Newcity, Sixty and elsewhere, Workman has also served as a reporter for WBEZ Chicago Public Radio, and as Chicago correspondent for Italian art magazine Flash Art. He is also Director of Bridge, a Chicago-based 501 (c) (3) publishing and programming organization.
Jose Santiago PerezMovement Mattersperformance artSAIC


The Putnam Avenue Upper School is an innovative public middle school rounding out its seventh year in the Cambridge Public Schools. We are looking for a dynamic, committed educator with strong content and pedagogical knowledge, solid classroom management skills, a deep commitment to social justice and experience working in an urban school setting.
The literacy coach will work primarily with teachers in grades 6-8, supporting their ongoing professional growth and learning both as individuals and in their teams. The literacy coach will work in a collaborative manner with teachers, encouraging and inspiring growth and reflection on their own practice. The literacy coach will draw on a depth of knowledge about reading and writing development as well as significant experiences teaching upper grades literacy in their work with teachers. The literacy coach will also work directly with the principal to support data monitoring and analysis, school improvement, and intervention work. The literacy coach will support implementation of the ELA curriculum and the generating and sustaining of a powerful vision for lifelong literacy learning in school and beyond.
Required Massachusetts License: Grades 6-8. Reading Specialist preferred.
At least 5 years of successful teaching in 6th-8th grades.
Familiarity with the 2017 English Language Arts and Literacy Framework.
Literacy Collaborative Literacy Coordinator training or Teacher's College Reading and Writing Workshop training.
Proficiency in confronting issues of race and equity.
Experience analyzing and using a wide variety of data sources.
Please upload a resume and thoughtful cover letter, outlining how your skills and experience meet the qualifications of the position and stating how you heard about this opportunity.


text:
Migratory Pact: Piñera thanks Frei for support that caused rejection in his party | National
December 13, 2018 by chile
After the support given by the ex-president Eduardo Frei the Government's decision to subtract from UN Migration Compact, which triggered the rejection of sectors of the opposition, the president Sebastian Pinera He thanked the former president.
Piñera said that he liked the support of Frei, who "He understands the responsibilities of a president very well, and we should not make mistakes in that. The Marrakesh Pact encourages illegal immigration and reduces the country's sovereignty. "
From Frei's party, the Christian Democrats, the head of the bench, Matías Walker, the deputy Raúl Soto and the senator Francisco Huenchumilla criticized the position of the ex-principal.
As quoted by La Tercera, Walker asserted that Frei "has his opinion", that contrasts with the party's institutional position expressed in the draft resolution at the assembly. In addition, he said that "the statement of our former foreign ministers is to call on the government to reconsider its decision and, in summary, to accede to the global pact for migration, orderly and regular."
Deputy Raúl Soto, in turn, said that "one would expect a much more vision of the status of a person like Frei and not to be carried away by the temptations of extreme right populism. "
He also separated the positions of DC and Frei arguing that the party "today is opposition and it is government", since the former president is currently ambassador on special mission to the Asia-Pacific.
"I think you should choose, we can not continue to tolerate this kind of ambiguity. This causes tremendous damage to the game "added Soto.
Meanwhile, Senator Huenchumilla was equally harsh, asserting that "I would have expected a little more prudence from a former president of the Republic."
Categories chile Post navigation
It deepens each one in the consumption of public services
How does GIF change the game? – 36kr


text:
Grant Application Peer Review Process
Grant applications submitted to AHRQ are evaluated by the AHRQ peer review process to ensure a fair, competent and objective assessment of their scientific and technical merit.
Application Receipt and Referral Process
Once received, AHRQ grant applications are submitted to the Center for Scientific Review (CSR) at the National Institutes of Health (NIH). This page describes important steps in the receipt and referral process.
In accordance to the Public Health Service Act and the federal regulations governing "Scientific Peer Review of Research Grant Applications and Research and Development Contract Proposals" (42 CFR Part 52h), applications submitted to the Agency for Healthcare Research and Quality (AHRQ) will be evaluated by AHRQ peer review process to ensure a fair, competent and objective assessment of their scientific and technical merit. The peer review of grant applications involves an assessment conducted by panels of experts established according to scientific disciplines or medical specialty areas.
Internet Citation: Grant Application Peer Review Process. Content last reviewed April 2015. Agency for Healthcare Research and Quality, Rockville, MD. https://www.ahrq.gov/funding/process/review/index.html


Tarawera – NZ's Biggest EVER Ultra!
2019 is proving to be the year of the Ultramarathon right here in New Zealand with a record 2000 eager runners already signed up for the Tarawera Ultramarathon with weeks still to go until race day. This makes it by far the largest ultramarathon to ever to take place in New Zealand.
The Tarawera Ultramarathon, the vision of Kiwi Paul Charteris, is 11 years old this year and features a range of distances which including a 20km adventure run, a 50km, 100km and 100 mile trail race. All the races travel through the amazing landscape around Rotorua and beyond with the looming shadow of the volcano Tarawera a presence throughout all the races.
2018 saw the addition of the 100 mile to the race distances as ultramarathon running continues to grow in strength with runners looking to challenge themselves. This year it sees a competitive field up there with the world's best.
Overall last 2018's entries topped out at 1500 runners so to already be ahead of that number with weeks left to go shows that trail running and ultrarunning really are taking off.
This year the 50km race is proving the most popular distance with 800 competitors lining up to take on the Tarawera trail which uniquely features an aid station at the Buried Village on the shores of Lake Tarawera serving traditional scones and cream tea.
Trail running is clearly not just another male dominated sport with a 50:50 split on genders taking part and competing together.
The Tarawera Ultramarathon is also not just a Kiwi affair, with runners from over 35 countries descending on Rotorua to compete and relax together celebrating trail running culture. As well as being a truly global event this year's race has attracted more elite athletes than ever before with over 20 elites from around the world competing at various distances to try and take the win. The world's top two women in ultrarunning, Courtney Dauwalter and Camille Herron, the current 100 mile world record holder, are lining up in the 100km and 100 mile races respectively. In the men's running Jeff Browning and Ryan Sandes, arguably two of the best ultra runners in the world, are set to compete in the 100 mile and 100km race respectively.
But Tarawera isn't just about the elites. The race is firmly fixed in the minds of all Kiwi trail runners and elites rub shoulders with regular runners all focused on their own personal challenge in a relaxed, celebratory atmosphere.


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Q: Shell extension for selected file Is there a way to know which file is being selected in windows explorer? I've been looking at the tutorial posted here Idiots guide to ... but the actions described are:
hover
context
menu properties
drag
drag and drop
I wonder if is there a method that get invoked when a file is selected. For instance to create a thumbnail view of the file.
Thanks.

A: I came across this python script.
from win32com.client.gencache import EnsureDispatch

for w in EnsureDispatch("Shell.Application").Windows():
    print w.LocationName + "=" + w.LocationURL

But I only get the folder that is open and not the currently selected item in that folder.
Anyone has more info?

A: Here is how I do it in AutoHotkey:
GetWindowsExplorerSelectedFile(_hWnd)
{
    local selectedFiles, file

    ; I can send ^C and parse Clipboard, but this way don't mess with clipboard at all, seems nicer.
    ; Warning: with this, you get only what is displayed in Explorer!
    ; If you kept the default Windows setting of not displaying file extensions (bad idea...),
    ; you will get partial file names...
    ControlGet, selectedFiles, List, Selected Col1, SysListView321, ahk_id %_hWnd%
    Loop, Parse, selectedFiles, `n  ; Rows are delimited by linefeeds (`n).
    {
        If (A_Index = 1)
        {
            file := A_LoopField
        }
        Else
        {
            ; Indicate that several files are selected, we return only the first one
            ; but count the total number of selected files, to indicate we return a partial result
            ErrorLevel := A_Index
        }
    }
    Return file
}

And I get the path from the edit field of the Explorer (which is prone to problems! Can be absent or can be set up not to display full path).
The core idea is to ask the SysListView32 control of Explorer what are the selected items, and get them.
Now, that's a hack, there are probably cleaner ways...
PS.: Also found this: Getting ListView items in C# from SysListView32 using SendMessage
Need some voodoo to get it working on another process...
Real code at a French site!

redpajama_set_name: RedPajamaStackExchange


text:
export interface Reference {
    uri: string;
    rel: string;
    [index: string]: string;
}
export interface Link {
    refs: Reference[];
    has(attribute: string, value: string): boolean;
    get(attribute: string, value: string): Reference;
    rel(value: string): Reference;
    set(ref: Reference): Reference;
}
export function parse(header: string): Link;

redpajama_set_name: RedPajamaGithub


text:
About It's A Stampede!
Rewind to the '90s
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Forgotten fantasy films from the 1990s
Image: ©Paramount Pictures/Columbia Pictures
Think back to some of the big movies of the 1990s and chances are that for every film you recall, there are countless you forget. But what if we narrow things down to just the fantasy films – surely that would make things easier, right?
Maybe so; but it's likely that there are still a large number of fantasy films that you would draw a blank on. And some of those titles are likely to be featured in this post: Forgotten fantasy films from the 1990s.
Below are ten fantasy movies from 1990s that have slipped through the cracks in time. These are pictures which have either largely been forgotten, don't gain a lot of chatter, or are just simply gosh darn awful.
The Indian in the Cupboard (1995)
OK, let's start off with a gentle fantasy film directed by Frank Oz. The movie – based on a book by Lynne Ried Banks – follows the story of nine-year-old, Omri and his adventures with a native American figurine which is brought to life… via a magical cupboard.
No, seriously.
The Indian in the Cupboard was produced by Kathleen Kennedy, Frank Marshall, and Jane Startz, and features cameos from RoboCop and Darth Vader (both in toy form). But, cameos aside, The Indian in the Cupboard is quite bland, and while it's not terrible, it is not a thrill-ride either, meaning that most people forget it even exists.
Joe's Apartment (1996)
Image: ©MTV/Warner Bros.
Next up is Joe's Apartment – a musical comedy about a guy who has talking (and singing) cockroaches living in his home. The movie – based on an MTV short called Joe's Apt – starred Jerry O'Connell as Joe, with Billy West, BD Wong, Tim Blake Nelson, and Dave Chappelle providing voice over duties for the roaches.
If you remember this one then chances are you rented Joe's Apartment on VHS – you didn't see it at the cinema. Barely anyone turned up when it played in theatres, causing it to bomb big time, then slip into obscurity.
Image: ©Paramount Pictures
Directed by legendary animator and director Ralph Bakshi, Cool World told the story of a cartoonist who is transported into a comic book. The film starred Brad Pitt, Kim Basinger and Gabriel Byrne, and combined live-action with animation.
Conceived as an adult take on Who Framed Roger Rabbit, Cool World could have been something truly special. Unfortunately, it lacked the charisma, uniqueness, and talent to achieve its goals.
If you were one of the few people who caught this at the cinema, then you know how bad it is. And I say "few people", as this film was a huge financial disaster, which made less than half of its budget because no one went to see it.
We're Back! A Dinosaur's Story (1993)
Image: ©Universal Pictures
And now onto the first of two dino-based movies on this list. Thanks to Jurassic Park, dinosaurs were big business in the 1990s and this meant a number of films were either based around or featured dinosaurs.
This one – We're Back! A Dinosaur's Story – was an animated feature about a group of dinos transported from the Jurassic era to live in the 1990s. Somewhere along the way they spent some time wandering around New York… oh, and they could talk.
The animation was fine in We're Back! A Dinosaur's Story, but the story was bland and uninspiring. It didn't make a huge impact in 1993 and it's barely remembered today.
Theodore Rex (1996)
Image: ©New Line Cinema
Sticking with the theme of dinosaurs brings me onto Theodore Rex – a buddy cop movie about a detective who partners with a dinosaur.
Once again, this is an actual film – I'm not making it up!
Whoopi Goldberg played the detective, while George Newbern – the voice of Superman in the '00s Justice League cartoon – voiced the dino.
How bad was the movie?
Well, not only did Whoopi Goldberg regret making this film, she also tried to pull out before it went into production. That pretty much tells you all you need to know.
Hudson Hawk (1991)
Image: ©Hudson Hawk
Bruce Willis as a master thief in a fantasy action comedy? Sounds like a decent movie, right?
Yep. But sadly, Hudson Hawk is anything but good. In fact, it's one of the worst films of the 1990s.
Richard E. Grant, Sandra Bernhard, Andie MacDowell, and James Coburn all joined Willis to try to inject life into this very, very bizarre film, yet they all failed. Tonally it was all over the place, and every attempt at comedy missed the mark by a mile.
This film is only remembered by people who point out it is a bad movie. Or by those who make lists about forgotten fantasy films of the 1990s.
Last Action Hero (1993)
Image: ©Columbia Pictures
Another action film, and another high-profile action hero, this time in the form of Arnold Schwarzenegger. The movie is Last Action Hero, which some people will remember.
So, if some people remember this film, why is it on the list?
Simple – everyone should remember Last Action Hero, and they don't.
Directed by John McTiernan, Last Action Hero was a big budget adventure movie conceived as a satire of the action genre. The film told the story of a young boy, transported to a parallel universe where movie characters were real and movie clichés were a dime a dozen.
Sounds fun, doesn't it?
And in part it was. Arnie got to play two roles, the film was loaded with cameos and self-referential dialogue and there were some good gags. But unfortunately, it just didn't land the way it should and as a result, it is often over-looked in favour of stronger Arnie films.
Is it worth a watch?
Yes. Dial down your expectations and imagine what it could have been.
The Pagemaster (1994)
Image: ©20th Century Fox/Walt Disney
Macaulay Culkin, Christopher Lloyd, Whoopi Goldberg, Patrick Stewart, and Leonard Nimoy all featured in The Pagemaster – a children's fantasy film about a young boy transported to a world filled with literary characters. The film was largely animated, but was bookended by live-action sequences… which were actually the best parts of the movie.
So, what gives with this one?
Well, due to the involvement of Macaulay Culkin – a big box office draw during the early 1990s – The Pagemaster had quite a lot of buzz surrounding it. That was until it opened in theatres and both critics and audiences were left underwhelmed.
In the years since its release, The Pagemaster has simply drifted into obscurity. Some people remember the name, but few seem to recall seeing it.
Bob Hoskins directed and starred in this children's movie about a group of kids who ride a rainbow to Kansas. Along the way, one of them steals some gold and this causes all of the colour to drain from the world… making humanity turn bad in the process.
No, seriously, that was the story.
Rainbow was a huge flop at the cinema and it didn't do much better on home video. The result? No one remembers it… except me, who watched it recently. And yes, it is bad.
Congo (1995)
And finally, another movie that should be remembered as being a big hit of the 1990s, but for many reasons it fails to stir up many memories.
Here's what the movie had going for it:
Congo was based on a book by Michael Crichton, the author of Jurassic Park
The movie starred Tim Curry, Bruce Campbell, and Ernie Hudson
Frank Marshall – the director of Arachnophobia – helmed this picture
Sounds alright, so why is it on this list?
Because Congo is bobbins. Absolute poop.
Dodgy special effects, some bad performances, and a weak story about apes all helped to bury Congo. Both critics and audiences hated the film, it died a quick death at the box office, and few people remember it today.
Thank you for taking time to read this post about forgotten films of the 1990s. If you would like to read about more movies, then check out the recommended reads below.
13 comic book movies from the 1990s you probably forgot
What is the Jumanji universe timeline?
What is the best order to watch the Mortal Kombat movies?
Tags: '90s films, '90s movies, 90s fantasy films, 90s film, Arnold Schwarzenegger, Bob Hoskins Rainbow, Brad Pitt, Bruce Willis, Congo, Congo 1995 movie, Cool World, Dinosaurs, Fantasy films, Fantasy films of the 1990s, Films, Forgotten fantasy film, Forgotten fantasy films, Hudson Hawk, Jerry O Connell, Joes Apartment, Last Action Hero, Movies, Movies about Dinosaurs, Rainbow 1996, The Indian in the Cupboard, The Pagemaster, Theodore Rex, Tim Curry, We're Back! A Dinosaur's Story, Whoopi Goldberg
Categories: '90s, Books, Films, Nostalgia
3 Responses to Forgotten fantasy films from the 1990s
PatrickWhy March 21, 2020
You know the other weird thing about Congo? Written by John Patrick Shanley, acclaimed NY playwright, Oscar winner for Moonstruck, won every theater and literary award for
Doubt, directed the movie version of Doubt, etc. Guess he needed the paycheck?
Another thing: with exception of King Kong, I feel like ape movies don't do great. Like we get into uncanny valley territory; they just look weird and disconcerting on screen. I don't know. This is a theory that I am just now hatching.
Alex Wiggan March 21, 2020
You might be right. Even the King Kong series has had missteps.
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There is disclosed a radially expandable knotless tissue anchor including an expandable outer member defining a bore and an inner member slidably positioned within the bore. Relative longitudinal movement of the inner member relative to the expandable member causes a portion of the expandable member to expand radially outwardly. The tissue anchor further includes a length of suture material having a first end affixed to a distal end of the inner member and a second end preferably affixed to a suturing needle. A transverse bore is provided adjacent the distal end of the inner member. There is also disclosed a method of knotlessly anchoring a section of tissue to a section of bone having a bore drilled therethrough. The method includes passing the suture through the tissue and positioning the expandable member and a section of tissue within the interior of the bore drilled in bone. Expansion of the expandable member secures the suture between the expandable member and the bone to thereby secure the attached tissue to bone. There is also disclosed a method of knotlessly securing a section of ligament within an elongated bore drilled in bone. The method includes passing the length of suture through the ligament and drawing the ligament adjacent the distal end of the inner member and wrapping or lashing the ligament to the distally inner member. Distal movement of the expandable member relative to the inner member causes expansion of the expandable member to secure both the suture and the section of ligament between the expandable member and the bone. Additionally, a distal movement of the expandable member forces the lashed sections of suture off the inner member.
Once the assembled tissue fastener and ligament have been mounted on the implantation apparatus, the implantation apparatus may be inserted through an enlarged bore formed through a pair of knee bones. The bores are of sufficient diameter that the attached ligament is not abraded or destroyed as it is advanced through the enlarged bore. Preferably, at the distal most end of the bores, a reduced diameter section is provided for receipt of the tissue fastener and associated ligament. Thereafter the implantation apparatus is actuated to expand the expandable member thus compressing the ligament adjacent the wall of the bore of the bone to secure the ligament between the expandable member and the bone. Thus, the ligament can be implanted with only radially extending forces acting on the ligament thereby providing atraumatic delivery and securement of the ligament within knee bone.
FIG. 14 is a partial cross-sectional view of the expanded tissue fastener securing a first end of the graft material within the bore in the bone.
Referring now to FIG. 1, tissue fastener  10 includes an expandable body 12 and a setting pin. More particularly, body 12 and the setting pin are preferably fabricated from a bioabsorbable material such as polymers of glycolide, lactide, caprolactrone, p-dioxanone, trimethylene carbonate and physical and chemical combinations thereof. Body 12 includes a shaft 14 with an axial aperture 15 extending therethrough. An enlarged head 16 may be provided at a proximal end of shaft 14 to engage an implantation instrument.
Shaft  14 includes at least two, and preferably four, distally extending legs 18 which are defined by lengthwise slots 20. Body 12 is fabricated from a material with sufficient flexibility and resiliency to allow legs 18 to radially expand by splaying outward. When body 12 is placed in a hole and legs 18 are expanded, barbs 22 provided on the outer surface of legs 18 engage the wall of bone tissue surrounding the hole and frictionally secure the body therein. Expanded legs 18 also knotlessly secure a section of suture or graft material positioned between legs 18 and adjacent bone. Legs 18 are expanded in response to engagement with a setting pin 24 as described below.
Setting pin  24 is part of expandable tissue fastener 10 and includes an elongated shaft 26 with at least one, and preferably four, lengthwise extending fins 28 adapted to engage and be guided by slots 20 in body 12. A series of circumferential barbs 30 on the shaft 26 inhibit distal motion of setting pin 14 relative to body 12. Shaft 24 also includes a wider diameter head 32 at its proximal end to facilitate grasping of setting pin 24 by an implantation instrument. At its distal end portion, shaft 26 includes an expanded diameter bulbous portion 34 which includes a proximally facing camming surface 36 and distally facing beveled tip 38. Camming surface 36 is provided to engage and radially expand legs 18 on body 12. A first end 42 of an associated length of suture 40 is affixed to shaft 26 within a bore 44 in tip 38. A needle 46 is affixed to a second end 48 of suture 40. Needle 46 may be a known suturing needle or, preferably, a surgical incision member such as that disclosed in U.S. Pat. No. 5,569,301 to Granger et al., the entire disclosure of which is incorporated by reference herein. A transverse bore 50 for receipt of suture 40 is provided in bulbous portion 38. Shaft 26 also includes a proximal end portion demarcated by a circumferential breakaway notch 52.
A mounting member  100 is provided to mount tissue fastener 10 on an implantation apparatus and together therewith forms a disposable loading unit 150. Mounting member 100 is a tissue fastener mounting portion which is an independent structure for supporting both expandable body 12 of tissue fastener 10 and setting pin 24. The entire disposable loading unit 150 mounts to the distal end of the implantation apparatus, as described below.
Mounting member  100 includes a collar 102 defining a recess 104 into which head 16 of body 12 is received and supported. A shaft 106 defines a lengthwise axis and includes laterally extending bayonet mounting pins 108 for releasably engaging L-shaped slots in the housing tube of an implantation instrument. A mounting slot 110 for retaining setting pin 24 extends lengthwise through collar 102 and includes at least one abutment wall 112 for contacting and retaining head 32 of setting pin 24. An access port 114 enables head 32 to be mounted into mounting slot 110 proximal to abutment wall 112. Mounting member 100 also includes arcuate lengthwise extending access chambers 116 which allow passage therethrough of pusher prongs (discussed below) for contacting and pushing head 16 of body 12.
Referring to FIGS. 2 and 3, shaft  26 of setting pin 24 is adapted to be slidably disposed within aperture 15 of body 12. When body 12 is moved distally with respect to setting pin 24, camming surface 36 eventually contacts the distal tips of legs 18. Further distal movement of body 12 causes legs 18 to splay radially apart under the camming action of surface 36 because the diameter of bulbous portion 34 is greater than that of aperture 15. Distal movement of body 12 can be effected by an instrument which distally advances body 12 while holding setting pin 24 stationary, or which grips and pulls head 32 of setting pin 24 while holding body 12 stationary. At a predetermined point, legs 18 are fully expanded and the setting pin 24 cannot move any further through aperture 15. Increased pulling force applied to the proximal end portion of shaft 26 causes shaft 26 to fracture at breakaway notch 52 thereby splitting off the proximal end portion shaft 26 when a predetermined force is applied. Setting pin 24 is configured and dimensioned such that when setting pin shaft 26 undergoes the controlled fracture at full expansion of legs 18, breakaway notch 52 will not be positioned outside aperture 15 of the body 12 but rather within aperture 15.
Referring now to FIG. 4, disposable loading unit  150 is provided to the surgeon in sterilized form and may arrive fully assembled with tissue fastener 10 positioned in mounting member 100 or the components may be separated requiring assembly.
In order to assemble tissue fastener  10 within mounting member 100, elongated shaft 26 of setting pin 24 is inserted into keyhole shaped mounting slot 110 in mounting member 100. Elongated shaft 26 is advanced within slot 10 until head 32 is flexed to a position down into slot 110 and abuts abutment wall 112. Thus, head 16 of expandable body 12 is positioned within recess 104 in collar 102. In this manner the disposable loading unit is assembled and is ready for insertion into an implantation instrument. Attached suture 40 and needle 46 may be provided loose or may be provided in a separate loading unit to facilitate loading needle 46 into a surgical suturing instrument.
Referring now to FIG. 5, there is disclosed a suitable tissue fastener implantation apparatus  200, the components and operation of which are more fully described in U.S. Pat. No. 5,928,244 to Tovey et al., the entire disclosure of which is incorporated by reference herein. In general, implantation apparatus 200 includes an elongated portion 202 extending distally from a handle portion 204. Handle portion 204 generally includes a stationary handle portion 206 and a trigger 208. Operation of trigger 208 acts as operating structure to expand tissue fastener 10.
A distal end of elongated portion  202 is provided with an L-shaped slot 210 configured to receive bayonet mounting pins 108 of mounting member 100. In order to assemble on disposable loading unit 150 into implantation apparatus 200, mounting member 100 is positioned and advanced into the distal end of elongated member 202 such that bayonet mounting pins 108 enter elongated slot 210. Mounting member 100 is then rotated such that bayonet pins 108 are rotated into the transverse portion 212 of slot 210. Thus, the disposable loading unit 150 including mounting member 100 and tissue fastener 10 are securely attached to the distal end of implantation apparatus 200. As noted above, operation of trigger will drive expandable body 12 distally relative to setting pin 24 to thereby expand legs 18 radially outward.
As noted hereinabove, tissue fastener  10 includes a length of suture 40 and a needle 46. Needle 46 may be of any suitable tissue suturing variety. However, the preferred needle 46 is a surgical incision member 46 of the type noted in U.S. Pat. No. 5,569,301 the contents of which were incorporated by reference hereinabove. When utilizing surgical incision member 46, the use of a particular suturing apparatus disclosed in U.S. Pat. No. 5,569,301 is advantageous. Suturing apparatus 250 generally includes a handle portion 252 having a pair of pivoting handles 254 affixed thereto. An elongated member 256 extends distally from handle portion 252 and terminates in a pair of removable jaws 258 and 260. Actuation of handles 254 opens and closes jaws 258 and 260. As discussed in U.S. Pat. No. 5,569,301, operation of a toggle lever 262 functions to releasably and alternatively secure surgical incision member 46 within jaws 258 and 260. Thus, by closing handles 254, jaws 258 and 260 close and cause surgical incision 46 to penetrate tissue positioned therebetween, upon operation of toggle lever 262, surgical incision member 46 can be released from a first jaw and secured in a second jaw to thereby pass the needle through tissue upon opening of jaws 258, 260.
Referring now to FIG. 6, the use of tissue fastener  10 to secure a piece of tissue such as muscle tissue relative to bone will now be described. While this discussion has broad applicability to any situation where muscle tissue, ligaments or other soft tissue are to be secured to bone, the following discussion is in terms of securing tissue adjacent a bore drilled in bone as in typical shoulder surgeries. As shown in FIG. 6, the suturing apparatus has been operated to pass surgical incision member 46 and a portion of associated length of suture 40 through a tissue section A. As more fully discussed in U.S. Pat. No. 5,569,301, this is accomplished by positioning the surgical incision member in jaw 258, operating suturing apparatus 250 to close jaws 258 and 260 together so as to pierce tissue section A with surgical incision member 46 and actuating the surgical suturing instrument so as to release surgical incision member 46 from upper jaw 258 and securely grasping it in lower jaw 260, thus on opening of jaws 258 and 260 surgical incision member 46 and portion of suture 40 is pulled through tissue section A.
Referring now to FIG. 7, in order to secure tissue section A to distal end of setting pin  24, suturing apparatus 250 is again operated so as to pass surgical incision member 46 through bore transverse 50 in bulbous portion 34 of setting pin 24. By manipulating surgical suturing apparatus 250, tension may be applied to suture 40 so as to draw tissue section A tightly against the distal end of setting pin 24.
Referring now to FIG. 8, in order to secure and draw a tissue section adjacent a particular section of bone, a bore B is drilled in the desired section of shoulder bone C. Once a bore B has been drilled in bone C, implantation apparatus  200 can be manipulated so as to position the unfired tissue fastener 10 having a length of tissue A secured adjacent to it within bore B.
Referring to FIGS.  8-10, actuation of implantation apparatus 200 drives a pair of pusher prongs 212 through access chamber 116 in mounting member 100 to engage head 16 of expandable member 12 and thus drive expandable member 12 distally relative to setting 24. Mounting member 100 may have access chamber 116 tapered toward the center of member 100 to allow use with existing instrumentation and engage the relatively small diameter head 16 of expandable member 12. As noted hereinabove, when tissue fastener 10 is loaded in mounting member 100, head 32 of setting pin 24 is restrained from movement. Thus, as the prongs drive expandable member 12 distally, the distal ends of legs 18 are engaged by camming surface 36 on setting pin 24 and driven radially outwardly. As noted above, fins 28 are engaged and are guided by slots 20 formed in expandable member 12. As legs 18 are driven radially outward, barbs 22 engage and secure a portion of suture 40 against the bone C within bore B. Alternatively tissue section A may be drawn into bore B prior to expanding expandable member 12. As discussed above, when sufficient force has been applied to expandable member 12 by pusher prongs, expandable member 12 can advance no further relative to setting pin 24 and the additional force severs or breaks setting pin 24 at breakaway notch 52.
As shown in FIG. 9, after actuation, setting pin  24 is disposed inwardly of head 16 of expandable member 12. In this manner, the section of tissue A is secured adjacent the opening of the bore in bone C. The suture 40 will be sufficiently tensioned so that the tissue section A remains outside the bore. Thus tension can be provided to suture 40 so as to snug an extreme end of the tissue section adjacent tissue fastener 10 without drawing it down into the bore. Actuation of the expandable member 12 secures and locks the suture in place within bore B thereby facilitating securement of the tissue section without the need for any external knots. Thus, this is a convenient, secure and easy knotless suture securing procedure.
Referring now to FIG. 11, the use of tissue fastener  10 in knee ligament repair surgery where it is desirable to secure a distal end of a ligament within an elongated bore drilled in a knee bone will now be described. As noted above, often this is accomplished by threading a screw adjacent the ligament thereby abrading the ligament or by wedging the ligament together with some sort of wedge into the bore in which event the ligament must travel a longitudinal distance while being abraded by bone on one side and the wedge on the other. The disclosed method has the distinct advantage of being able to position a ligament section within a bore in a knee bone without any trauma to the ligament.
As shown in FIG. 11, initially surgical suturing apparatus  250 is actuated and so as to pass surgical incision member 46 and thus suture 40 through ligament section D. Preferably, surgical incision member 46 is passed back and forth through ligament section D several times so as to gain a secure hold of ligament D with suture 40.
Referring now to FIG. 12, ligament section D is advanced along suture  40 towards beveled tip 38 until the pierced section of ligament D is adjacent beveled tip 38. Thereafter, in order to firmly secure ligament section D to setting pin 24 the suturing apparatus is actuated to pass surgical incision 46 through transverse bore 50 in setting pin 24. The suture may then be wrapped around bulbous portion 34 and ligament D numerous times to thereby lash ligament D to the distal end of setting pin 24.
Subsequently, disposable loading unit  150 containing the attached ligament D is mounted to the implant apparatus as described above.
Referring now to FIG. 13, once disposable loading unit  100 and apparatus 200 have been assembled, implantation apparatus 200 is positioned such that elongated portion 202 and tissue fastener 10 are advanced through bores E and F drilled through knee joints G and H. Specifically shown in FIG. 13, bores E and F through the knee bone sections are of sufficient diameter such that elongated portion 204 may be passed therethrough. However, because of the reduced diameter of tissue fastener 10 and ligament D, the ligament is not traumatized as it is advanced through bones E and F. A smaller diameter bore I is drilled at the end of bore F to accommodate them. The point at which the implant is to be expanded is in the reduced diameter bore I.
Referring to FIGS. 13 and 14, actuation of implantation apparatus  200 will operate to push expandable member 12 distally relative to setting pin 24 thereby forcing legs 18 radially outwardly to engage and secure ligament section D adjacent to bone G. Thus, ligament D is firmly secured within bore F in sutureless fashion without trauma to ligament D and no additional knots need be tied.
It will be understood that various modifications may be made to the embodiments disclosed herein. For example, barbs  22 are an expandable member. 12 may be reconfigured as abraded surfaces or other means to frictionally engage suture 12 when cammed against suture 12 in a bore in bone. Additionally, barbs 22 may assume a rounded configuration to be less traumatic to any associated ligament or tissue section engaged by legs 18 as they expand. The above description should not be construed as limiting, but merely as exemplifications of preferred embodiments and methods. Those skilled in the art will envision other modifications and uses within the scope and spirit of the claims appended hereto.
a length of suture having a first end and a second end, the first end of the suture being affixed to the distal end of the inner member.
2. The knotless tissue anchor as recited in claim 1, wherein the expandable portion includes at least two flexible legs.
3. The knotless tissue anchor as recited in claim 2 wherein the inner member has a camming surface configured to engage the at least two flexible legs to force ends of said legs radially outward in response to relative longitudinal motion between the expandable member and the inner member.
4. The knotless tissue anchor as recited in claim 3, wherein the camming surface engages the at least two legs in response to distal movement of the expandable member relative to the inner member.
5. The knotless tissue anchor as recited in claim 1, wherein a distal portion of the inner member defines a transverse bone therethrough for receipt of the length of suture.
6. The knotless tissue anchor as recited in claim 1, further comprising a needle affixed to the second end of the suture.
7. The knotless tissue anchor as recited in claim 6, wherein the needle is a double pointed incision member and the second end of the suture is affixed to the needle intermediate the points.
8. The knotless tissue anchor as recited in claim 2, wherein the at least two flexible legs define at least two slots therebetween, the inner member having at least two fins, each one of the at least two fins configured to be slidably received within a corresponding slot of the at least two slots.
9. The knotless tissue anchor as recited in claim 1, wherein the inner member has circumferential ridges, the ridges engageable with the expandable member to prevent distal motion of the inner member relative to the expandable member after the expandable portion has been radially expanded.
10. The knotless tissue anchor as recited in claim 2, wherein the at least two expandable legs have ridges on outer surfaces thereof to frictionally engage surrounding bone.
11. The knotless tissue anchor as recited in claim 1, wherein the expandable member has an enlarged head at a proximal end thereof.
expanding the expandable member into engagement with the bone such that the portion of the suture is secured between the expandable member and the bone.
13. The method as recited in claim 12, wherein the inner member includes a transverse bore in a distal end thereof and the step of positioning includes passing the free end of the suture through the transverse bore.
14. The method as recited in claim 13, further comprising applying tension to the second free end of the suture to draw the tissue adjacent the tissue fastener.
15. The method as recited in claim 12 wherein the second free end of the suture has a needle affixed thereto and the step of passing includes piercing the tissue with the needle.
expanding the expandable member to secure the ligament between the expandable member and the bone.
17. The method as recited in claim 16 wherein the step of securing includes passing the suture through the ligament.
18. The method as recited in claim 17 wherein the step of securing further includes lashing the ligament to an inner member of the tissue fastener.
19. The method as recited in claim 18 wherein distal movement of the expandable member relative to the inner member expands the expandable member and forces the lashed section of the ligament off the inner member.
21. The mounting member as recited in claim 20, further comprising an expandable tissue anchor wherein the shaft has mounting structure at a distal end thereof for releasably engaging the expandable tissue anchor such that the combined mounting member and tissue anchor form a disposable loading unit.
ES2210442T3 (en) 2004-07-01 Apparatus for implantation of a tissue holder.


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For over 5 years Ultima Final Fantasy took you on a journey through the entire Final Fantasy series; from the main games that you know and love, to obscure titles such as "My Life as a Darklord". Every game was played and reviewed, every major media release was touched on, and you got to hear all the stories, tangents, and life struggles of the hosts who went through it. For years the show was supported on Patreon, and you got to see goals reached such as multiple "Megadeth" Song Covers of classic Final Fantasy songs, a phone line, and Twitch streaming for the MMO's. All of these things, along with the Patreon Invite episodes, added so much to the show.
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No, not visiting someone else's garden, but a visitor to ours. Last week, I saw a hedgehog hiding among the pots by the back door. My first though was one of panic, in case Scruffy was anywhere near it, but he wasn't. It was around 8.00 pm, so apologies for the light levels and general blurriness of the photos which were taken looking through our sitting room window.
I put some cat food out for the hedgehog and once he/she had smelt it, it didn't take long for it to be gobbled up.
I think he/she was even standing on the plate to get at it!
He/she did finish every last bit and then off he/she went on his/her way. I was thrilled to see a hedgehog as we live in a city, particularly as on the Hampton Court Palace Flower Show coverage on the BBC, there was a report on how these creatures are as endangered in the UK as tigers are in the wild. Rather a sobering thought.
Thanks, Hannapat. We were very lucky to see him/her. I was a bit concerned that one of our cats would want to investigate the hedgehog, but luckily, they didn't.
How WONDERFUL to see a hedgepig in your garden. And how sad to learn that they are critically endangered.
Thanks, EC. We were indeed very lucky - we don't see many hedgehogs in the garden. It is sad that they are endangered - due to roads and disappearing habitats I think. At east we gave this one a meal to keep him/her going for a bit longer.
Ellie how lovely. Bet you don't have the same problem with slugs that we do !
Thanks, Anne. Unfortunately, we don't have enough visits from the hedgehogs and our snail and slug population seems to have exploded this year - they are everywhere! Ugh!
Thanks, Alison. We haven't seen him/her since then, but perhaps he/she'll call back soon - I hope so!
Thanks. Joy. We were very lucky to see our visitor. It is very sad that they are so endangered now. I hope they'll keep going somehow.
I hope they can survive as a species.


Learn, play and grow in confidence with skills such as felt making, batik, dyeing and bleaching, exploring heat tools and others. You will explore a number of design projects with plenty of one-to-one guidance, developing new skills and learning foundation design principles. An ideal opportunity for those with no previous experience to grow their creativity in a fun and supportive environment.


Jason, 17, visited his friends at a neighbouring school one day at lunch. When the lunch hour was almost over, his friends dared him to pull the fire alarm before going back to his own school. "I just might!" he called as his friends were heading to their classrooms. Just before walking out of the school, he surprised himself by pulling a fire alarm near the exit door.
He began heading back to his own school but didn't run as he didn't want to look suspicious. "Oh, I hope they enjoy the sunshine," he said as he looked back at the students and staff starting to gather outside the school. He was a little nervous and hoped no one had seen him pull the alarm.
It wasn't long before the rumours began to spread. When the police questioned Jason's friends, they told the officer about daring Jason to pull the alarm. When the police visited Jason, he accepted responsibility for the offence and admitted that he had pulled the fire alarm.
Jason was in Grade 11. He had already had a couple of run-ins with police before—like the time they dumped his beer out when he was drinking in the park with a bunch of friends, but he had never been to court. Jason was not great in school but he was getting by. He did not have a job but hoped to be a car mechanic one-day.
Look up mischief (Criminal Code section 430) and false fire alarms (Criminal Code of Canada section 437) and find out what the penalty is for adults.
Did this crime have a victim(s)? Give reasons for your answer.
Should Crown Counsel proceed to trial in a youth justice court? Explain.
Does the public need to see Jason receive a major punishment for this offence?
What options for dealing with Jason are available?
Is a police warning sufficient in this case? Why or why not?


The opening show of the 2012 Costa Rica National Dog Championship, known as the "Copa INBIO Parque" (INBIO Parque Cup) got underway on 28th and 29th January this year, with dogs entered from different parts of the world, and five expert judges. This major event has now been held in the country for eight consecutive years, and the project is coordinated by the Asociación Canófila Costarricense and the Instituto INBIO Parque, an institute working on biodiversity. This year the Corporación RPM TV also attended the international event and, to coincide with the international event, put on various dog-related activities at Costa Rica's national stadium, an important part of which was the finals of the International Show.
In front of an audience of approximately ten thousand people in the national stadium, the judges Mr Rafael de Santiago, Vice-chairman of the FCI, and Dr Alberth Méndez, Director of the ACC, had the job of choosing the best dogs in the show.
Mr William R. Umanha, Chairman of the A.C.C., who was organising the activities, pointed out that his organisation's strategy for the success of its events (in terms of entries, audience and coverage in the country's main communication media) is based on two things: firstly forming alliances with other organisations so that they attract a good audience and proper logistical planning of its activities and secondly, promoting the organisation's activities by hiring a professional public relations and marketing company.
Mr Rafael de Santiago said that he was pleased both with the way that the event had gone and with its logistics, because of the quality of the dogs and the large number of breeds taking part, and he made it clear "that the job of the judges is to look at all the dogs in the arena and choose the best specimen which the exhibitor can then use to cross and perfect the breed".


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Q: Azure file storage map drive prevent deletion of folders I have a system in C# that handles CRUD for files stored in azure file storage. This includes permissions for who is allowed to delete, create etc.
The end users would also like to have access to the storage over a mapped drive. This would be for easier browsing, mass uploading, and editing (among other things).
Is it possible to prevent the deletion of top level folders from the mapped drive, especially if it has files inside the directory?
The reason being that accidental deletion of a folder would remove all child files/folders without warning.
I see that this could be a training issue for the end user, but it seems better to prevent the issue from ever happening.
I see you can add a SharedAccessSignature to files but not folders, but I don't want to prevent individual file deletion. Only top level folders as a whole.

A:
Is it possible to prevent the deletion of top level folders from the mapped drive, especially if it has files inside the directory?

It seems that you want to enable users to mount file share and access/delete files, do not enable users to delete entire folders. As far as I know, it seems to be impossible. Because currently we must specify the storage account key when mounting Azure File shares, everyone who has storage account and account key will have full permissions to manage and operate file shares. And at the moment, Microsoft do not support SAS tokens with SMB access.


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Engagement about libraries using graphic facilitation
This week, I was on the road to engage the public about libraries using graphic facilitation.
I'm home from a week on the road asking Calgarians about their public library. Graphic facilitation was a key feature of the public engagement strategy. But you can't just plonk down a big piece of paper and expect people to give you good feedback. There's an art to good public outreach. Thanks to Rosemary at the Calgary Public Library and Emory from The Public Good, this week kept me on my toes talking to hundreds of people in library branches, community centres and malls.
Here's my observations on what makes a good public outreach event with graphic facilitation.
Overall, graphic facilitation is great for public engagement because it grabs and keeps peoples' attention. You can see the 8-foot piece of paper from far away. It's bright, attractive, and invites curiosity. It's fun to see feedback get made into a picture. As well, people can see what others have said and build on it. It's like group mind-mapping or group brainstorming. And of course, it speaks to the visual learners.
1. Bring out your best, friendliest staff. Lucky for me, librarians are perfect for public outreach. They work with the public all the time. They're not fazed by feedback or wacky suggestions, and genuinely get excited when people rave about the library system. Librarians directed people over to my station with a friendly "hello" to break the ice and explain the activity. As a graphic facilitator, having an extra person to take notes, talk to the crowd, and take time with people where English was an additional language was so helpful – we could talk to twice as many people.
2. Have kids' activities. We had a colouring contest for younger kids (and a separate teen contest). Library staff supervised the children so the parents could talk to us. This meant I could get in just a few extra seconds with each parent to ask a followup question and literally "draw out" a deeper answer. And it also meant I could draw out kids' ideas, which was fantastic. Like the 10 year old who introduced me to the idea of somehow connecting recommendations and reviews to the library catalogue, which an adult also suggested a day later. Turns out it's called a social catalogue.
3. Keep the graphic facilitation questions simple, and use different techniques at other stations. The results are richer this way. We chose just two questions for the graphic facilitation. At other stations, the public could give feedback out loud to staff, or write it down at a station, or fill in the survey online.
4. Keep your graphic recording page as un-guided or unstructured as possible. I used three simple categories, but didn't draw boxes around them. We found each event brought out different answers – one location everyone wanted to talk about programs, and at another everyone wanted to talk about spaces and that's what filled up the page. A template with prescribed "areas" for answers would have filled up quickly – and maybe some of the later suggestions wouldn't have been raised.
5. Reassure the person giving feedback they can build on existing content. As the page filled up, if they seemed concerned that someone had already said their answer, my trick was to get them talking. I would point out how we could expand on similar content to make it better.
6. Consider where you set up the graphic facilitation station. Determine the flow of foot traffic, and also consider putting the station as close to it as possible. This way people don't have to "walk into" an area, and you're more likely to get their attention with a simple hello.
Thanks for letting me hear about your libraries, Calgary. And sign me up for the book home delivery system, please!
Visuals can support cultural competence in healthcare
Graphic Recording for Healthy Schools


We stayed at Manana Resort for almost a week and loved every minute of it. Manana Resort has just 4 tiny little beach chalets, but this results in a real friendly feel and makes staying here ever so appealing, particurarly with the crystal-clear sea water so close to each of the chalets and the lush jungle just behind.
It has an almost movie-set look, it's that breathtaking.
The other way I've heard Manana Resort been described is that it is almost like a miniature Malay village. Modest, sweet and authentic.
The ambience is laid-back and the pace utterly slow, in part due to the idyllic tranquillity that reigns supreme in this neck of Tioman, i.e. Juara Beach.
Manana, which actually should be spelled ma�ana is Spanish for tomorrow. And the owner told us that Manana Resort is called this, because before they were a resort, they found that a lot of visitors to the area would repeatedly postpone their return home to "tomorrow". They just couldn't bear taking their leave.
I can understand why; Manana Resort is a simply magical place, both during the day and at night.
Speaking of night, at night, the locals put on a spectacular fire show on the beach, juggling hand-made torches, fire-twirling and even fire-eating. It was great fun and spectacular to watch.
Staying at Manana Resort was blissful to say the least. I don't know how long the hostel will remain here, however, as I heard that there is talk of leaving Tioman in the not too distant future.
If you want to stay at Manana Resort, I recommend that you don't wait too long. I'm not sure if Manana Resort can be found online, but if they have, then the fastest way to book them is by Agoda.
In fact, I couldn't find the Tioman Manana Resort phone number, so it looks like Agoda is the only way to book them.