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Mental health professionals today know that recovery from mental illness is more possible than ever before, and that it takes a community to make it happen.
After Newtown, the public dialogue and policy debate is focused rightly on gun control and mental health services. To provide better mental health services, however, we need to re-examine — and clearly define — exactly where we're headed (strategy), how we get there (planning), and when we've arrived (outcomes).
We can start with the fact that mental illness is a brain disorder, so in one sense it's just as much a physical disease as cancer or diabetes. But because this disease is often expressed behaviorally, mental illness is freighted with a social stigma not generally associated with other physical diseases. This stigma isolates and tortures its sufferers, and in many cases keeps them from getting the treatment they need — and is available — to become fully functioning members of society.
And just like other physical diseases, mental illness is best treated in its earliest stages.
The concept of preventive care, however, needs clearer definition and greater emphasis.
Early, low-cost health care interventions almost always lessen, and sometimes eliminate, more costly ones down the road, both medically and financially.
But what, exactly, constitutes preventive care? One could argue a healthier diet, more exercise and regular medical check-ups.
But what about expensive lab tests, cancer screenings and CAT scans? Or, in the case of mental health, early childhood examinations, psychiatric evaluations and medication management?
The concept of recovery also needs clarification.
When applied to physical health, recovery is quite clear. You're sick or injured, and with medical intervention and sufficient time, you heal. The broken bone is mended, the cancerous lump is removed, the ruptured heart vessel is repaired. You have recovered from whatever ailed you.
With behavioral health (mental illness and substance abuse), the concept is trickier. Sufferers are never truly "healed" or "cured" as they are in the physical medical sense, so a plain and simple understanding of what we mean by recovery is even more important in this context.
The Substance Abuse and Mental Health Services, under the U.S. Department of Health and Human Services, has created a working definition of recovery for mental health and substance abuse disorders that, for many behavioral health professionals, works beautifully.
The definition also comes with four major dimensions that support a life in recovery and 10 useful guiding principles.
HEALTH: overcoming or managing one's diseases, as well as living in a physically and emotionally healthy way.
HOME: a stable and safe place to live.
PURPOSE: meaningful daily activities, such as a job, school, volunteerism, family caretaking, or creative endeavors, and the independence, income and resources to participate in society.
COMMUNITY: relationships and social networks that provide support, friendship, love and hope.
SAMHSA's major guiding principles are: Recovery emerges from hope; recovery is person-driven; recovery is holistic; and recovery is based on respect.
Recovery is a process — a healing path that leads to stability, empowerment, growth and happiness.
Because mental illness and substance abuse are chronic diseases, recovery is also a never-ending process. Over the past decade, science has greatly expanded our understanding and treatment of mental illness and addiction.
These advances have come from the hard science of labs and research, as well as the soft science of psychology and social work.
Thanks to new discoveries, insights, treatments and services, most mentally ill and addicted people in Maine can now live full, productive lives.
With clear definitions of concepts and goals, we can help guide them on their personal journeys of recovery.
And with recovery, we will decrease stigma, lessen violence and increase hope. Let the healing begin.
Jeannine D. Lepitre is chief executive officer of Counseling Services Inc.


text:
Это список градоначальников города Кёнигсберга — Калининграда за всю его более чем 750-летнюю историю.

До 1724 года существовало три разных города: Кнайпхоф, Лёбенихт и Альтштадт со своими бургомистрами и городскими советами. После объединения этих городов введена должность бургомистра Кенигсберга (а затем и обер-бургомистра).

С 1724 по 1809 год глава города носил титул «Диригированный (руководящий) бургомистр трёх объединённых городов».

Обер-бургомистр Кенигсберга назначался королём, кайзером (с 1919 года — министерством) по предложению Магистрата Кёнигсберга сроком на 12 лет. Магистрат, в свою очередь, выбирался Кёнигсбергским Городским собранием уполномоченных в 2 тура сроком на 6 лет. Городское собрание уполномоченных избирались горожанами также в 2 тура сроком на 6 лет. Обер-бургомистр являлся одновременно председателем Магистрата.

С апреля 1945 года город управлялся военными властями через районные комендатуры. С 4 июля 1946 года город стал именоваться Калининградом. С 1947 года проводились выборы депутатов городского Совета, который избирал исполнительный комитет (исполком) и председателя городского исполкома. С 1996 года выборы градоначальника Калининграда (мэра города) стали проводиться прямым голосованием горожан.

Бургомистры Кёнигсберга (с 1724 по 1758)

Русские коменданты города во время Семилетней войны (с 1758 по 1762)

Бургомистры Кёнигсберга (с 1762 по 1945)

Руководители военного и временного гражданского управления (1945—1947)

Председатели исполкома городского совета Калининграда (1947—1991)

В 1991 году произошло разделение властей на законодательную и исполнительную. В соответствии с этим появились главы представительной власти и главы исполнительной власти (мэр города).

Градоначальники Калининграда (с 1991 года)
С мая 2008 года помимо должности избираемого населением главы (мэра) городского округа была введена должность главы администрации (сити-менеджера) городского округа, на которую кандидат назначается сроком на два года решением Окружного совета депутатов.

В 2012 году должность главы администрации городского округа была упразднена. В ноябре 2016 года депутаты Калининградской областной думы приняли закон об отмене прямых выборов главы городского округа Калининграда.

В 2020 году вновь произошло разделение должностей на должности главы города и главы администрации города. Глава города избирается депутатами из числа входящих в городской совет депутатов на срок полномочий совета, а глава администрации назначается депутатами по результатам конкурса.

Главы администрации городского округа (2007—2012 и с 2020)

Примечания

Ссылки
 Градоначальники Калининграда на сайте Администрации городского округа «Город Калининград»

Списки:Калининград
Калининград

redpajama_set_name: RedPajamaWikipedia


Vintage Computer Forum > Genres > Unix/Xenix/Linux Workstations > Xenix-286 kits?
View Full Version : Xenix-286 kits?
I've got Xenix-286 version 2.3.2 disk images (disks N1-N3, X1-X4, B1-B2 and GA) and they work like a charm. But not I am looking for other disk sets, at least the network and the development kit. I think there was even an X version (or some other kind of GUI) for 16-bit Xenix. At least, there is a /dev/vga which Minix hasn't.
Does anyone know where to get other kits apart from X, B, N and the Games kit?
Yes, I have tried the same Xenix, I borrowed it from Mr. Mule, and I too would like to land my hands on the "Development Floppies" for this little beast. I guess they should sport a pre-ANSI C compiler and other vintage goodies.
So, anyone knows where to look for those?


This experience with writing this recent story was very well for me. As a future sports reporter, I need all of the experience that I can write quick stories. This story helped me with my interviewing problem of just going up to people, ask them if they want to be interviewed and ask them questions about the socializing problem in today's society. This reflection is going to be a learning lesson on reporting and what I need to improve to be a better reporter.
The part of the assignment that concerned me the most was the interviews. Interviews worried me because I am not good with going up to people and asking them questions. The interviewing part of the assignment helped me get out of my shell and talk to strangers. This concern affected my writing process of trying to have all of the interviews done before the first draft was due. Scheduling interviews are hard to do because you're making sure that your schedule and the interviewee's schedule are available at the same time. I decided to go straight up to the interviewees' and asked them if I can ask them questions about socializing, and they all said yes. So, I just asked them a couple of questions that were quick and then to questions that came from the interviewees' responses to questions.
One revision that I made between the first draft and the final draft was the cutting out and reorganizing of the story. This change took a while because I had to figure out what goes where after cutting a couple of paragraphs from the story. I had to see how the story looked and figured out how to make the story better than the first draft. The revision made the story more efficient because I eliminated some paragraphs that had no importance to the story. I cut out the section "Social media helps people hide online. People also use technology as a way to talk to others more easily" from the story. This item makes no sense in the story, and it is also weak too. This section is one of four parts that were taken out of the first draft to make the final version better.
The part of the process for article number two that I put the most effort into is the interviews. The interviews were the tricky part because I had to find the people, interview them, and make sure that I have their answer written correctly. I wanted to be able to quote my interviewees accurately in the article. The part of the process that I wish I spent more time on is how to put the story together. It took me a while to figure out how to have the story the way that I want it to be. As a reporter, this is a hard part in the beginning but the more experience I get, the better I will be in news story organization.
The news writing strategy that I learned that I would intend to use in the future is to organize my stories better. Organization in writing is very significant because it helps the readers understand the story and have information in order. This strategy also helps me, as the reporter, to have things and events for a story. Stories need to be able to have information in order and correct for readers. I want to be able to improve on organizing, so in the future, my articles are better.
This recent story helped me see where I am at in my progress in journalism writing as a reporter. I need more improvement in organizing, but I will get better with more practice and time. I have learned a lot about myself as a reporter and how this story made me want to go out and interview people better. Practice makes perfect for anything that someone wants to be good. The story is a good stepping stone to improve and be better. This story, in my opinion, is better than my first story that I did earlier in the semester and the next story will be better than this one.
A man is in his office at the Krone Advising Center on a busy, November Wednesday afternoon. He is at his desk working on his schedule for the next day.
Alex Watters is a first-year adviser at Morningside College and a member of the city council in Sioux City, Iowa. His regular schedule is full every day between city council duties and his responsibilities in Morningside College.
He graduated from Morningside College then returned as an adviser to help out students who are coming out of high school and entering the college world. He graduated with a major in political science and global history.
He is overloaded completing both jobs at the same time. Doing two jobs at once means that there are times he can't do everything he wants to in one day.
He has short brown hair, blue eyes, and wears a professional-looking sweater or a white, long sleeve dress shirt with a blazer. He wears slacks and dress shoes most of the time, but once in a while, he wears blue jeans with tennis shoes.
He is a long-winded talker that can talk for at least 20 minutes. With this ability, he has to take breaths of oxygen and take a drink of water from a pouch occasionally.
Alex doesn't play golf because he is in a motorized wheelchair. He sustained a spinal cord injury in a diving accident. This injury hasn't stopped him from doing what he wants to do in life. He continues to live his life to the fullest every single day.
He recently won the city council election in November. He is now serving his first full term as a member of the city council. The length of a city council term is four years.
He balances city council and Morningside College duties by making sure that everything in his schedule is in order when it comes to times in a day.
He graduated from Morningside College then came back and became an adviser to help out students who are coming out of high school and entering the college world. He also said that he graduated with a major in political science and global history.
He is very occupied completing both jobs at the same time. Doing two jobs at once means that there are times where he can't do everything he wants to in one day.
Alex doesn't play golf anymore because he is in a motorized wheelchair. He sustained a spinal cord injury that was pinched and wasn't severe. The damage from the injury made his spine like a banana and will stay this way for the rest of his life.
He recently won the city council election in November and won. He is now serving his first full term as a member of the city council. The length of a city council term is four years.
He balances city council and Morningside College duties by making sure that everything in his schedule and order when it comes to times in a day.
There was an explosion early this morning at the Mega City Mall. The center of the explosion was located near the food court and near Dairy Queen.
About 100 people are injured in the explosion with fire and smoke inhalation with other severe and non-life threatening injuries, according to the Mega City Police Department's report. The report also states that two people have died from the explosion.
At this time, there no new updates to the injured and all are being treated at St. Mercy and Jean-Luc hospitals. The damage to the mall property and the extent of it not known at the moment.
Sgt Fuglsang did give some details of the deceased. One is a male from Sgt Bluff, and the other is a woman from Mega City.
Homeland Security will help out in the investigation of the explosion. More federal law enforcement agencies will work alongside the Mega City Police Department.
A retired police officer, a witness to the explosion, said that "it was pretty chaotic." She was able to help as many people leave the mall as possible.
Another press conference is scheduled today at 3 PM to update the public on any new information into the investigation of the Mega City Mall explosion.
Morningside Student selected for internship with Chuck Grassley.
Nat Simpson has been selected to intern for Iowa Senator Chuck Grassley.
She is from Colorado Springs, Colorado. She currently studies Graphic Design at Morningside College.
She applied by an application that had a get-to-know section and short essay about why she wants to be an intern for Chuck Grassley.
She will be learning what it is like to work in the federal government and work for a Senator.
Over 1,000 people applied for this internship. She stood out by her many hours of volunteer work in her hometown.
The internship will be six weeks long and will start in February of 2018.


Bed and Breakfast in York, England - Bed and Breakfasts UK Hotel Guide.
Family B&B in rural village near the historic city of York.
Pendale House offers a family run B&B in a rural Yorkshire village. There are two large en-suite rooms, one double and one twin. It is ideally situated for touring the beautiful area of North Yorkshire including the Yorkshire Moors and the Dales and the beautiful historic city of York. The village has two pubs with serve excellent food. York 10 miles.
York is a beautiful city and we are ideally situated.
We are a small and friendly bed and breakfast located on the award winning 'Best High Street In The UK' 'Bishyrd' (Bishopthorpe Road York.). Our B&B has been awarded four stars and a silver award and for the fifth year running a certificate of excellence from TripAdvisor. Free on-street parking with free parking permits available to all our guests; you can leave your car here and within 15-20 minutes you can walk into York along the very pretty riverside walk or along our award winning high street 'Bishyrd'. Our award winning breakfasts sourced with local ingredients will set you up for the day. Our homemade breads and jams are a favourite with our Guests including gluten and wheat free bread. Our honey is sourced from our local beekeeper. we can provide you with a vegetarian vegan or diary free breakfast. Free wifi is available so just bring along your laptop. We are a 20 minute walk away from The Barbican Theatre, The Grand Opera House and University. The York Racecourse is a 10 minute walk.


text:
Q: Multiple SSH Keys on the same device I registered a personal SSH key months ago and everything worked fine. Now I'm working for a company. They created their own GitHub account and I have started a new repository.
I know I have to add another SSH key, which I did.
This is the content of the ~/.ssh/config file.
Host github.com
    HostName github.com
    User git
    PreferredAuthentications publickey
    IdentityFile ~/.ssh/id_rsa

Host github-companyname
    HostName github.com
    User git
    PreferredAuthentications publickey
    IdentityFile ~/.ssh/id_rsa_companyname

I also did ssh <keyname> and I am authenticated.
After that I executed the following commands.
git init
git add
git remote add origin <repo>

It works all fine, until I run git push -u origin master.
I get this error.

ERROR: Repository not found.
  fatal: Could not read from remote repository.
Please make sure you have the correct access rights and the repository exists.

I don't understand. Everything seems to be set up correctly.
Why am I getting that error message?
If that makes any difference, I am using OSX Sierra 10.12.4.

A: Since my comment resolved OPs issue, I'm writing this as an answer.
The problem seems to be in the fact that you have multiple ssh keys for the same host. In your .ssh/config you have configured 2 hosts - github.com and github-companyname. In your company repository, you need to change the remote url in .git/config from git@github.com:... to git@github-companyname:.... Then ssh will use the correct key and you should have no problems with authentication.
For further reading:

*

*https://gist.github.com/jexchan/2351996 especially the comments

*http://nerderati.com/2011/03/17/simplify-your-life-with-an-ssh-config-file/
When you need to clone an existing repository with your company key, you can apply the same approach.
git clone git@github-companyname:companyname/repositoryname.git

Notice that instead of github.com, the command uses github-companyname.

redpajama_set_name: RedPajamaStackExchange


text:
Biografia

Nella sua attività professionale si occupa di critica musicale, divulgazione musicale e conduzione radiofonica. Scrive per il quotidiano la Repubblica, ha curato l'inserto settimanale «Musica» dello stesso quotidiano, ha condotto programmi per Radio3 Rai insieme con Filippo Bianchi (critico e divulgatore musicale, organizzatore e operatore culturale, poi direttore di Musica Jazz, storica rivista specializzata).

Dal 2005, insieme con Ernesto Assante, tiene le Lezioni di rock. Viaggio al centro della musica con lo scopo di approfondire, grazie anche all'ascolto guidato e all'ausilio di video e filmati, la storia di coloro che sono entrati nella leggenda del rock.
Dal 2011 la domenica pomeriggio dalle 14 alle 16, sempre insieme con Assante, conduce il programma Playlist su Radio Capital.

Dal 2017 conduce su Rai Radio 2, assieme a Ema Stokholma, il programma Back2Back. Conduce le dirette radiofoniche del Festival di Sanremo 2018, 2020 e 2021 insieme a Ema Stokholma e Andrea Delogu, mentre nell'edizione del 2019 ,del 2022 e del 2023, in coppia con Stokholma. Dal 2 gennaio 2021 conduce sui canali Rai, con Melissa Greta Marchetto, Magazzini Musicali, settimanale di attualità e musica.

Libri
 Dizionario della canzone italiana, 3 vol.,  Armando Curcio Editore, 1990
 La Terra Promessa. Quarant'anni di cultura rock, Feltrinelli, 1994, ISBN 9788807812996
 La mela canterina. Appunti per un sillabario musicale, Minimum Fax, 1996, ISBN 9788886568159
 Blues, Jazz, Rock, Pop. Il Novecento americano (con Ernesto Assante), Einaudi, 2004, ISBN 9788806167110
 33 dischi senza i quali non si può vivere. Il racconto di un'epoca (con Ernesto Assante), Einaudi, 2007, ISBN 9788806186777
 Il buio, il fuoco, il desiderio. Ode in morte della musica, Einaudi, 2008, ISBN 9788806196721
 Il tempo di Woodstock (con Ernesto Assante), Laterza, 2009, ISBN 9788842089964
 Music:box. Quando i grandi fotografi raccontano la musica, Contrasto, 2011, ISBN 9788869653018
 Beatles (con Ernesto Assante), Laterza, 2014, ISBN 9788858120712
 Il romanzo della canzone italiana, Einaudi, 2018, ISBN 9788806235895
 Lucio Dalla (con Ernesto Assante), Mondadori, 2021, ISBN 9788835708018
 Beatles e Rolling Stones. Apollinei e dionisiaci, Einaudi, 2022, ISBN 9788806250928

Note

Voci correlate
 Ernesto Assante

Altri progetti

Collegamenti esterni

 26/07/2010 Oltre Woodstock e oltre il muro con Ernesto Assante


Berner FFP3 Sterile Respiratory Facemask - Helapet Ltd.
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Each facemask is presented individually polybagged and pre-sterilised, ideal for immediate transfer and use in cleanroom environments.


Discover the beauty in transforming the ordinary into extraordinary. Where perfection no longer exists, creativity abounds and we embrace uniqueness.
To experience the beauty of our full inventory stop by the market. In store you will find one of a kind repurposed pieces, modern farmhouse decor, Fusion Mineral Paint, Country Chic Paint and all the tools you will need to start your next DIY project. We would love to help you transform your home into an expression of your personal beauty.
Learn something new...Create something wonderful!
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Welcome to the latest news hub, highlighting thought-provoking and insightful articles from industry experts.
Welcome to our adviser news hub. Here, you'll find thought-provoking and insightful articles from industry experts, relevant publications and fellow intermediaries.
Need help finding the forms you're looking for? Visit our new and improved document library.


text:
Location: GTCN channel 2.3
Summary Sentence: The story of Florence Foster Jenkins, a New York heiress who dreamed of becoming an opera singer, despite having a terrible singing voice.
Full Summary: Heiress Florence Foster Jenkins (Meryl Streep) longs to become an opera star in 1940s New York, despite possessing a horrible singing voice. With the help and encouragement of her husband (Hugh Grant) and a talented musician (Simon Helberg), she finds a very strange kind of success as a performer and recording artist. Rebecca Ferguson and Nina Arianda co-star. Stephen Frears (Philomena) directed this biopic, which is based on the real-life socialite and opera singer of the same name. Author: Daniel Gelb GTCN Movie Schedule Florence Foster Jenkins IMDB
Florence Foster Jenkins Movie Poster
Heiress Florence Foster Jenkins (Meryl Streep) longs to become an opera star in 1940s New York, despite possessing a horrible singing voice. With the help and encouragement of her husband (Hugh Grant) and a talented musician (Simon Helberg), she finds a very strange kind of success as a performer and recording artist. Rebecca Ferguson and Nina Arianda co-star. Stephen Frears (Philomena) directed this biopic, which is based on the real-life socialite and opera singer of the same name. Author: Daniel Gelb
GTCN Movie Schedule
Florence Foster Jenkins IMDB
Georgia Tech Cable Network (GTCN)
Faculty/Staff, Public, Undergraduate students, Graduate students
GTCN, free movies, flicks, matinee
Created By: nhansen7
Created On: Mar 10, 2017 - 11:52am

redpajama_set_name: RedPajamaCommonCrawl


text:
Home>Collection>Circus Elephants
NGA Online Editions > American Paintings, 1900–1945
zoom is not available
John Steuart Curry
Circus Elephants, 1932
overall: 64 x 91.8 cm (25 3/16 x 36 1/8 in.)
framed: 92.1 x 120 x 3.8 cm (36 1/4 x 47 1/4 x 1 1/2 in.)
Gift of Admiral Neill Phillips in memory of Grace Hendrick Phillips
John Steuart Curry (artist) American, 1897 - 1946
Robert Torchia, "John Steuart Curry/Circus Elephants/1932," American Paintings, 1900–1945, NGA Online Editions, https://purl.org/nga/collection/artobject/55844 (accessed February 02, 2023).
Aug 09, 2018 Version
John Steuart Curry, an American regionalist from Kansas, painted the popular Circus Elephants in 1932 in his Westport, Connecticut, studio. For three months during the spring of that year Curry accompanied the Ringling Bros. and Barnum & Bailey Circus on its tour of New England. The resulting sketches served as the basis for a number of important paintings and lithographs. The artist explained in a radio interview that while he was attracted to the elephants' remarkable bulk, he was particularly fascinated with "those shining beady eyes" and thought it was "a little disconcerting to see this brilliant animation in such a massive form." Curry compared them to the eyes of the far less exotic barnyard pig, commenting: "You don't see the eye at first but then suddenly you become conscious of its gleaming presence buried in the shadow of the ear." When Circus Elephants was illustrated in Life in 1943, the caption praised Curry for his success in conveying "a feeling of balance, movement and bulk, one of the most difficult jobs he ever tackled."
John Steuart Curry experienced severe professional and personal difficulties during the early years of the Great Depression: his work was attacked by conservative critics in Kansas, his finances were in disarray, he was drinking heavily, and his wife was terminally ill. Seeking artistic inspiration, in April 1932 he accompanied the Ringling Bros. and Barnum & Bailey Circus on its spring tour for about 10 weeks, departing from Manhattan and traveling through Washington, DC; Pennsylvania; New Jersey; and southern Connecticut.[1]
Ringling Bros. World's Greatest Shows merged with Barnum & Bailey Greatest Show on Earth in 1919, forming the Ringling Bros. and Barnum & Bailey Circus. For a summary of the events of the 1932 season, called the "worst of the depression era," see George L. Chindahl, A History of the Circus in America (Caldwell, ID, 1959), 161–162. It is not known if Curry had any personal contact with John Ringling, the last surviving of the seven original Ringling brothers, who was a noted art collector and founder of the John and Mable Ringling Museum of Art, Sarasota, Florida. "Kansan at the Circus," Time, Apr. 10, 1933, 42, reported that John Ringling had given Curry "the run of his 'Greatest Show on Earth' for a month." For a general discussion of Curry's 1932 spring tour with the circus and its aftermath see Patricia A. Junker, "John Steuart Curry and the Pathos of Modern Life: Paintings of the Outcast and the Dispossessed," in John Steuart Curry: Inventing the Middle West (Madison, WI, 1998), 152–164. Possibly his interest in the subject was piqued by the success of Juliana Force's The Circus in Paint exhibition at the Whitney Studio Club in 1929, an event that critic Lloyd Goodrich had pronounced "the gayest and most original show of the season."[2]
Lloyd Goodrich, "Exhibitions in New York," Arts 15 (May 1929): 325. The exhibition featured representations of the circus by William Glackens, Yasuo Kuniyoshi, John Sloan, Reynolds and Gifford Beal, and Guy Pene du Bois, and the Whitney Studio Club was decorated to look like a circus for the occasion.
During the three months that Curry spent with the circus he made numerous sketches that served as the basis for paintings and lithographs he produced throughout the 1930s. After returning to his Westport, Connecticut, studio he painted his two best-known circus subjects: The Flying Codonas (1932, Whitney Museum of American Art, New York) and Circus Elephants.[3]
Other important circus subjects that Curry completed in 1932 were The Great Wallendas (private collection), Baby Ruth (Brigham Young University Museum of Art), The Aerialists, The Reiffenach Sisters, Agony of the Clowns, and The Runway (Swarthmore College Art Collection, PA). This was around the time that his wife, Clara Derrick, died in July 1932, an event that plunged the artist into what a close friend described as "an emotional crisis, the agony of which will never be known, for he tore himself away from those whom he might have taken into his confidence."[4]
Thomas Craven, "John Steuart Curry," Scribner's 103 (Jan. 1938): 40, quoted in M. Sue Kendall, Rethinking Regionalism: John Steuart Curry and the Kansas Mural Controversy (Washington, DC, 1986), 33. Noting the "desperate intensity" with which the artist painted these exotic human and animal subjects at the circus, his biographer Lawrence E. Schmeckebier wrote: "For Curry the circus was not simply an escape from life but to the contrary: it was a means of recovering that dynamic spirit and vitality which he feared the pedantic study of nature and artistic form was crushing from him."[5]
Laurence E. Schmeckebier, John Steuart Curry's Pageant of America (New York, 1943), 207. Curry's second wife, Kathleen Gould, later recollected that he had enjoyed painting the circus scenes more than any other experience in his career, and that he had admired the performers as "real people" who possessed the capacity for hard work and self-discipline.[6]
Bret Waller, "An Interview with Mrs. John Steuart Curry," in John Steuart Curry: A Retrospective Exhibition of His Work Held in the Kansas State Capitol, Topeka (Lawrence, KS, 1970), 13.
Elephants were regarded as the main attraction and mark of a successful circus—the more elephants, the more important the circus.[7]
Earl Chapin May, The Circus from Rome to Ringling (New York, 1930), 94. Curry described the circumstances that led him to paint the elephants in an interview recorded for a children's radio program. Late one afternoon he had begun to draw a group of Ubangi—women from Kyabé village in Chad with pierced and stretched lips. When they objected to his presence and demanded that he leave, he turned his attention to the elephants. The artist's interview reveals his fascination with the animals' forms, and especially their eyes:
Elephants look easy to draw but they really are not. It is hard to get the feeling of balance and movement as well as their bulk. If you will notice elephants are always moving and swaying back and forth on their feet. . . . How should you go about drawing an elephant? Begin with the large circular shapes first: a big round egg for the body, and remember that it should be tilted up in front, for you will observe that an elephant is higher at the shoulder than the hips. Then continue with the cylindrical shapes of the legs, head, and trunk. Draw them loosely so you can get the action of the animal at once. You then can make a more careful outline of the body over these forms and even suggest shading as you go.
When you first look at an elephant you are not conscious of the animal's eyes because they are small and usually the ears take your attention. Shortly you become aware of those shining beady eyes and it is a little disconcerting to see this brilliant animation in such a massive form. It is the same way with a pig's eyes. You don't see the eye at first but then suddenly you become conscious of its gleaming presence buried in the shadow of the ear. I have tried to show this effect in many of my paintings.[8]
Radio interview of May 13, 1938, quoted in Laurence E. Schmeckebier, John Steuart Curry's Pageant of America (New York, 1943), 210–211.
When Circus Elephants was illustrated in Life in 1943, the caption explained that the subjects "fascinated Curry because their eyes reminded him of pigs' eyes. He succeeded in conveying a feeling of balance, movement and bulk, one of the most difficult jobs he ever tackled."[9]
"Speaking of Pictures . . . These Tell the Story of John Steuart Curry of Kansas," Life, Nov. 29, 1943, 19.
Circus Elephants represents 12 elephants standing in a line under a tent eating hay. Their massive forms diminish as they diagonally recede into the background, interrupted only by two tent stays that lean toward them and divide the space. Just as Curry described, the various positions of the elephants' trunks give the scene a sense of gentle undulation. The artist captured the figures and expressions of the two elephants on the right very effectively, with the result that they have a greater sense of individual personality than their companions and seem to converse with one another. The small head of the zebra in the left foreground accentuates the elephants' enormous bulk.
Irma Jaffe made an ingenious but unconvincing attempt to interpret Circus Elephants as a work that indirectly reflects Curry's Covenanter religious beliefs. She noted that in 1940 a Kansas legislator likened the tornado in the background of Curry's Kansas Statehouse mural The Tragic Prelude (1937–1942) to an elephant's trunk. This hidden allusion to an elephant, a symbol of the Republican Party, implied that the New Dealers would be swept away when the Republicans returned to power. Conditioned by his religious disposition and familiar with certain biblical verses, according to Jaffe the artist regarded violence in nature as a form of divine retribution for his transgressions and sought to sublimate these fears by dwelling on the theme in his work. The "unmistakably phallic" tornado "represented to him the instrument of his own sinful pleasure and, he might have feared, his eventual ruin." Jaffe concluded: "The elephant, with its enormous strength and power and its dramatic, muscular, tubular proboscis, together with the thunderous sound of its trumpeting, does indeed suggest a tornado, and Circus Elephants doubtless owes its genesis to Curry's recognition of this metaphoric resemblance."[10]
Irma B. Jaffe, "Religious Content in the Painting of John Steuart Curry," Winterthur Portfolio 22 (Spring 1987): 33, 36–38.
It is clear from Curry's own comments, however, that he, like the multitudes of people who attended the circus, was simply fascinated by the animal's majesty and personality. As an artist he was challenged by the formal problems of correctly delineating elephants on canvas. Animals had figured prominently in Curry's art to this point, so he was sensitive to the nuances of painting them. After Kansas critics complained that a Hereford bull was standing improperly in one of his Statehouse murals and that in another work his pigs did not have their tails properly curled, Curry took measures to correct these inexactitudes.[11]
For a summary of these incidents, see M. Sue Kendall, Rethinking Regionalism: John Steuart Curry and the Kansas Mural Controversy (Washington, DC, 1986), 126–127. There are at least two known preparatory studies for Circus Elephants: a nearly identical watercolor and a charcoal and conté crayon drawing of three elephants.[12]
The former is illustrated in Laurence E. Schmeckebier, John Steuart Curry's Pageant of America (New York, 1943), fig. 239, and the latter in American Watercolors, Drawings, Paintings and Sculpture of the 19th and 20th Centuries, auction catalog, Christie's, New York, Mar. 15, 1985, lot 283. Curry also made a lithograph of the painting that was published in an edition of 250 by Associated American Artists in 1936.[13]
See Sylvan Cole Jr., The Lithographs of John Steuart Curry: A Catalogue Raisonné (New York, 1976), no. 28. The lithograph is also listed in Joseph S. Czestochowski, ed., John Steuart Curry and Grant Wood: A Portrait of Rural America (Cedar Rapids, IA, 1981), 102, 123, no. C 29.
An exhibition of Curry's circus paintings opened at Ferargil Galleries in New York on April 3, 1933, just days before the Ringling Bros. and Barnum & Bailey Circus opened its spring season with a show at Madison Square Garden. Critical reaction to the paintings was mixed. As Patricia Junker summarized: "Following upon the highly acclaimed and still memorable Kansas paintings, the circus subjects seemed to many critics an odd diversion for an artist whose reputation was already bound up with the idea of the Midwest."[14]
Patricia Junker, "John Steuart Curry and the Pathos of Modern Life," in Patricia Junker et al., John Steuart Curry: Inventing the Middle West (Madison, WI, 1998), 162. The Great Depression was deepening and few of the pictures sold. In his review of the exhibition Edward Alden Jewell bluntly opined that the series was "disappointing," but when he saw Circus Elephants in an exhibition of Curry's work at the Associated American Artists gallery in 1947 he pronounced it an "excellent picture."[15]
Edward Alden Jewell, "Allied Artists of America," New York Times, Apr. 3, 1933; "John Curry's Art Shown at Gallery," New York Times, Mar. 25, 1947. One notable exception to the criticisms of Curry's Ferargil circus show was Lewis Mumford, who wrote, "I cannot help thinking that the circus has a hypnotic effect on him that focuses his powers better than any other subject he has explored." See Robert Wojtowicz, ed., Mumford on Modern Art in the 1930s (Berkeley, CA, 2007), 147.
Robert Torchia
lower right: John Steuart Curry / 1932
(Walker Gallery, New York); purchased by Mrs. Grace Hendrick Eustis [later Mrs. Neill Phillips, d. 1966], New York, by 1939;[1] her second husband, Admiral Neill Phillips [d. 1978], Upperville, Virginia; gift 1976 to NGA.
[1] According to Peyton Boswell Jr., Modern American Painting, New York, 1939: 205.
Phillips, Grace Hendrick Eustis
Phillips, Neill, Admiral
Walker Galleries
An Exhibition of Paintings of the Circus by John Steuart Curry, Ferargil Galleries, 1933, no. 3, as Elephants.
Loan Exhibition of Drawings and Paintings by John Steuart Curry, The Lakeside Press Galleries, Chicago, 1939, no. 35, as Elephants.
John Steuart Curry, 20 Years of His Art, Associated American Artists, New York, 1947, no. 12.
Center Ring: The Artist: Two Centuries of Circus Art, Milwaukee Art Museum; Columbus Museum of Art, Ohio; New York State Museum, Albany; Corcoran Gallery of Art, Washington, D.C., 1981-1982, no. 31.
Persistance of Regionalism: John Steuart Curry and Grant Wood, Cedar Rapids Art Center; Edwin A. Ulrich Museum, Wichita State Univesity; University of Missouri Museum, 1981, no. 31, repro.
John Steuart Curry: Inventing the Middle West, Elvehjem Museum of Art, University of Wisconsin-Madison; M. H. de Young Memorial Museum, San Francisco; The Nelson-Atkins Museum of Art, Kansas City, 1998-1999, pl. 24, fig. 8.
Images from the World Between: The Circus in Twentieth-Century American Art, Wadsworth Atheneum Museum of Art, Hartford; The John and Mable Ringling Museum of Art, Sarasota; Austin Museum of Art, 2001-2002, fig. 116.
Circus! Art and Science Under the Big Top, Bruce Museum of Arts and Science, Greenwich, Connecticut, 2010-2011, no catalogue.
The unlined, plain-weave, medium-weight fabric support remains mounted on its original stretcher, a typical 20th-century, factory-produced, mass-market design. The tacking margins are intact. The artist applied thin, freely brushed, fluid paint wet into wet over a commercially prepared, thin, off-white ground.[1]
The priming covers all of the tacking margins, indicating that the canvas was primed before painting and that the priming was commercially prepared rather than applied by the artist. The first layer of paint anticipated the location of the tent poles, which suggests that the composition had been finalized before the artist began working. To complete the painting the artist added details using thicker touches of paint applied with a nearly dry brush. The paint of the tent roof at the center right is thick, but medium-rich rather than dry. Fluorescence under ultraviolet light of the white paint in this area is yellow, suggesting it may be zinc white. The painting is in very good condition with only a few tiny holes along the top and bottom edges, where it appears that a framing element might have been attached with tacks to the front of the painting. Some grime and bumps of a waxy material along the bottom have accumulated on the unvarnished surface.
Luce, Henry R., John Shaw Billings, and Daniel Longwell, eds. "Curry of Kansas." Life 1, no. 1 (23 November 1936): 28-31, color repro.
Boswell, Peyton. Modern American Painting. New York, 1940: 62, 138, color repro.
Schmeckebier, Laurence. John Steuart Curry's Pageant of America. New York, 1943: 207, 210-211, fig. 237.
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 141, repro.
Czestochowski, Joseph S. John Steuart Curry and Grant Wood: A Portrait of Rural America. Columbia, MO, 1981: 56, 125, fig. 31.
Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: 227, repro. 229.
Jaffe, Irma B. "Religious Content in the Painting of John Steuart Curry." Winterthur Portfolio 22, no. 1 (Spring 1987): 33, 36-38, fig. 16.
Kirshon, John W., and Tom Anderson, eds. Chronicle of America. London and New York, 1995: 656, repro.
Junker, Patricia A. John Steuart Curry: Inventing the Middle West. Exh. cat. Elvehjem Museum of Art, University of Wisconsin-Madison, WI; Fine Arts Museums of San Francisco, CA; Nelson-Atkins Museum of Art, Kansas City, MO, 1998-1999. New York, 1998:15, 125, pl. 24, fig. 8.
Gustafson, Donna. Images from the World Between: The Circus in Twentieth-Century Art. Exh. cat. Wadsworth Atheneum Museum of Art, Hartford, CT; John and Mable Ringling Museum of Art, Sarasota, FL.; Austin Museum of Art, Cambridge, MA, 2001-2002. London, 2001: no. 31, pl. 116.


text:
What are the 6 star hotels?
This topic has 0 replies, 1 voice, and was last updated 3 months, 2 weeks ago by Rahima Leigh.
14 October 2022 at 15:40 #1440
Rahima Leigh
Burj al Arab. One of the most well-known six-star hotels in the world is the Baruj al Arab, which can be found in Dubai and is fashioned like a sail.
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seven of the most prestigious seven-star hotels in the world
Burj Al Arab (United Arab Emirates)
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The world's ten most costly hotel rooms, ranked from most to least expensive
THE ROYAL MANSOUR AND THE GRAND RIAD ARE LOCATED IN MARRAKECH, MOROCCO.
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The World Hotel may be found in New York City.
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Rambagh Palace, Jaipur. This hotel is among the best in India and is ranked among the top 10 hotels in the country.
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Check out the following ultra-luxury hotels in India that we consider to be equivalent to a 7-star establishment, despite the fact that India does not have any hotels that have been awarded the official rating of 7 stars.
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According to a study conducted by Travel+Leisure readers in the United States in 2019, the Leela Palace in Udaipur was chosen as the greatest hotel in the world. The hotel's location on Lake Pichola affords each of the eighty luxury rooms breathtaking vistas of the surrounding mountains and placid lakes.
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The MGM Grand in Las Vegas currently has the title of world's largest hotel in terms of room count, but the Abraj Kudai hotel, which will have 10,000 rooms, can easily take that title away from it.
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The cities throughout the world with the best 5-star hotel deals
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The fifty largest hotels in the world for the year 2020
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In 2010, the portfolio of hotels that the InterContinental Hotels Group owned, operated, franchised, leased, or participated in a joint venture for contained a total of 647,161 bedrooms.
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The year 3 2020 has the worst performance record for hotels in the United States.
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Researchers in nanorobotics at the Femto-ST Institute in Besanon, France have constructed a house that is the tiniest house in the world. Becky Ferreira of Motherboard says that the house measures just 20 micrometers long, making it the smallest house in the world.
Are there any 6 star hotels in India?
On Mount Road in Chennai will soon be a brand new resort that will be the city's sole so-called 6-star hotel. Although they charge premium rates, Aman's resorts in India (including Aman-i-Khas in Ranthambhore, Aman Bagh in Jaipur, and Aman Resorts Delhi) do not consider themselves to be six-star properties.


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text:
/* ************************************************************************** */
/* *                                                                        * */
/* * COPYRIGHT NOTICE:                                                      * */
/* *                                                                        * */
/* * Copyright (c) 2000-2002 Gerard Juyn (gerard@libmng.com)                * */
/* * [You may insert additional notices after this sentence if you modify   * */
/* *  this source]                                                          * */
/* *                                                                        * */
/* * For the purposes of this copyright and license, "Contributing Authors" * */
/* * is defined as the following set of individuals:                        * */
/* *                                                                        * */
/* *    Gerard Juyn                                                         * */
/* *    (hopefully some more to come...)                                    * */
/* *                                                                        * */
/* * The MNG Library is supplied "AS IS".  The Contributing Authors         * */
/* * disclaim all warranties, expressed or implied, including, without      * */
/* * limitation, the warranties of merchantability and of fitness for any   * */
/* * purpose.  The Contributing Authors assume no liability for direct,     * */
/* * indirect, incidental, special, exemplary, or consequential damages,    * */
/* * which may result from the use of the MNG Library, even if advised of   * */
/* * the possibility of such damage.                                        * */
/* *                                                                        * */
/* * Permission is hereby granted to use, copy, modify, and distribute this * */
/* * source code, or portions hereof, for any purpose, without fee, subject * */
/* * to the following restrictions:                                         * */
/* *                                                                        * */
/* * 1. The origin of this source code must not be misrepresented;          * */
/* *    you must not claim that you wrote the original software.            * */
/* *                                                                        * */
/* * 2. Altered versions must be plainly marked as such and must not be     * */
/* *    misrepresented as being the original source.                        * */
/* *                                                                        * */
/* * 3. This Copyright notice may not be removed or altered from any source * */
/* *    or altered source distribution.                                     * */
/* *                                                                        * */
/* * The Contributing Authors specifically permit, without fee, and         * */
/* * encourage the use of this source code as a component to supporting     * */
/* * the MNG and JNG file format in commercial products.  If you use this   * */
/* * source code in a product, acknowledgment would be highly appreciated.  * */
/* *                                                                        * */
/* ************************************************************************** */
/* *                                                                        * */
/* * project   : mngrepair                                                  * */
/* * file      : mngrepair.cpp             copyright (c) 2002 G.Juyn        * */
/* * version   : 1.0.0                                                      * */
/* *                                                                        * */
/* * purpose   : main project file                                          * */
/* *                                                                        * */
/* * author    : G.Juyn                                                     * */
/* * web       : http://www.3-t.com                                         * */
/* * email     : mailto:info@3-t.com                                        * */
/* *                                                                        * */
/* * comment   : mngrepair iterates tries to fix a couple of 'common'       * */
/* *             MNG encoding errors (such as in JASC Animation Shop)       * */
/* *                                                                        * */
/* * changes   :                                                            * */
/* *                                                                        * */
/* ************************************************************************** */

#define HAVE_BOOLEAN

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#include "libmng.h"

/* ************************************************************************** */

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//---------------------------------------------------------------------------
typedef struct user_struct {

          FILE        *hFileI;         /* input file handle */
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          mng_chunkid iLastchunk;      /* last processed chunk */
          mng_retcode iError;          /* errorcode from function in callback */
          mng_uint8   iTermaction;     /* saved TERM parameters */
          mng_uint8   iIteraction;
          mng_uint32  iDelay;
          mng_uint32  iItermax;

        } userdata;

typedef userdata * userdatap;

/* ************************************************************************** */

#define MY_DECL                        /* get the right callback convention */

/* ************************************************************************** */

mng_ptr MY_DECL myalloc (mng_size_t iSize)
{                                      /* duh! */
  return (mng_ptr)calloc (1, (size_t)iSize);
}

/* ************************************************************************** */

#pragma argsused
void MY_DECL myfree (mng_ptr pPtr, mng_size_t iSize)
{
  free (pPtr);                         /* duh! */
  return;
}

/* ************************************************************************** */

#pragma argsused
mng_bool MY_DECL myopenstream (mng_handle hMNG)
{
  return MNG_TRUE;                     /* already opened in main function */
}

/* ************************************************************************** */

#pragma argsused
mng_bool MY_DECL myclosestream (mng_handle hMNG)
{
  return MNG_TRUE;                     /* gets closed in main function */
}

/* ************************************************************************** */

mng_bool MY_DECL myreaddata (mng_handle hMNG,
                             mng_ptr    pBuf,
                             mng_uint32 iSize,
                             mng_uint32 *iRead)
{                                      /* get to my file handle */
  userdatap pMydata = (userdatap)mng_get_userdata (hMNG);
                                       /* read it */
  *iRead = fread (pBuf, 1, iSize, pMydata->hFileI);
                                       /* iRead will indicate EOF */
  return MNG_TRUE;
}

/* ************************************************************************** */

mng_bool MY_DECL mywritedata (mng_handle hMNG,
                              mng_ptr    pBuf,
                              mng_uint32 iSize,
                              mng_uint32 *iWritten)
{                                      /* get to my file handle */
  userdatap pMydata = (userdatap)mng_get_userdata (hMNG);
                                       /* write it */
  *iWritten = fwrite (pBuf, 1, iSize, pMydata->hFileO);
                                       /* iWritten will indicate errors */
  return MNG_TRUE;
}

/* ************************************************************************** */

mng_bool MY_DECL myprocesserror (mng_handle  hMNG,
                                 mng_int32   iErrorcode,
                                 mng_int8    iSeverity,
                                 mng_chunkid iChunkname,
                                 mng_uint32  iChunkseq,
                                 mng_int32   iExtra1,
                                 mng_int32   iExtra2,
                                 mng_pchar   zErrortext)
{                                      /* sequence error for TERM we ignore ! */
  if ((iErrorcode == MNG_SEQUENCEERROR) && (iChunkname == MNG_UINT_TERM))
    return MNG_TRUE;

  return MNG_FALSE;                    /* all others get dumped ! */
}

/* ************************************************************************** */

#pragma argsused
mng_bool MY_DECL myiterchunk (mng_handle  hMNG,
                              mng_handle  hChunk,
                              mng_chunkid iChunktype,
                              mng_uint32  iChunkseq)
{
  mng_uint32  iWidth;                  /* temps for IHDR processing */
  mng_uint32  iHeight;
  mng_uint8   iBitdepth;
  mng_uint8   iColortype;
  mng_uint8   iCompression;
  mng_uint8   iFilter;
  mng_uint8   iInterlace;

  mng_bool    bEmpty;                  /* temps for FRAM processing */
  mng_uint8   iMode;
  mng_uint32  iNamesize;
  mng_pchar   zName;
  mng_uint8   iChangedelay;
  mng_uint8   iChangetimeout;
  mng_uint8   iChangeclipping;
  mng_uint8   iChangesyncid;
  mng_uint32  iDelay;
  mng_uint32  iTimeout;
  mng_uint8   iBoundarytype;
  mng_int32   iBoundaryl;
  mng_int32   iBoundaryr;
  mng_int32   iBoundaryt;
  mng_int32   iBoundaryb;
  mng_uint32  iCount;
  mng_uint32p pSyncids;
                                       /* get to my userdata */
  userdatap  pMydata = (userdatap)mng_get_userdata (hMNG);

  if (pMydata->hFileO)                 /* are we writing this time ? */
  {                                    /* do we need to 'forget' the TERM ? */
    if ((iChunktype == MNG_UINT_TERM) && (pMydata->bHasTERM))
      ;
    else
    {                                  /* fix JASC AS frame_type ? */
      if ((iChunktype == MNG_UINT_FRAM) && (pMydata->bIsJASC))
      {
        if ((pMydata->iError = mng_getchunk_fram (hMNG, hChunk,
                                                  &bEmpty, &iMode, &iNamesize, &zName,
                                                  &iChangedelay, &iChangetimeout,
                                                  &iChangeclipping, &iChangesyncid,
                                                  &iDelay, &iTimeout, &iBoundarytype,
                                                  &iBoundaryl, &iBoundaryr,
                                                  &iBoundaryt, &iBoundaryb,
                                                  &iCount, &pSyncids)) != 0)
        {
          fprintf (stderr, "Cannot get FRAM fields.\n");
          return MNG_FALSE;            /* stop the process ! */
        }

        if (iMode == 1)                /* really ? */
          iMode = 3;

        if ((pMydata->iError = mng_putchunk_fram (pMydata->hHandleO,
                                                  bEmpty, iMode, iNamesize, zName,
                                                  iChangedelay, iChangetimeout,
                                                  iChangeclipping, iChangesyncid,
                                                  iDelay, iTimeout, iBoundarytype,
                                                  iBoundaryl, iBoundaryr,
                                                  iBoundaryt, iBoundaryb,
                                                  iCount, pSyncids)) != 0)
        {
          fprintf (stderr, "Cannot write FRAM chunk.\n");
          return MNG_FALSE;            /* stop the process ! */
        }
      }
      else
      {
        if ((pMydata->iError = mng_copy_chunk (hMNG, hChunk, pMydata->hHandleO)) != 0)
        {
          fprintf (stderr, "Cannot copy the chunk.\n");
          return MNG_FALSE;            /* stop the process ! */
        }
      }
    }
                                       /* need to insert TERM in the proper place ? */
    if ((iChunktype == MNG_UINT_MHDR) && (pMydata->bHasTERM))
    {
      if ((pMydata->iError = mng_putchunk_term (pMydata->hHandleO,
                                                pMydata->iTermaction,
                                                pMydata->iIteraction,
                                                pMydata->iDelay,
                                                pMydata->iItermax)) != 0)
      {
        fprintf (stderr, "Cannot write TERM chunk.\n");
        return MNG_FALSE;              /* stop the process ! */
      }
    }
  }
  else                                 /* first iteration; just checking stuff */
  {
    if (iChunktype == MNG_UINT_SAVE)  /* SAVE ? */
    {
      pMydata->bHasSAVE = MNG_TRUE;    /* we got a SAVE ! */
      pMydata->bIsJASC  = MNG_FALSE;   /* so it's definitely not an invalid AS file */
    }
    else
    {                                 /* TERM ? */
      if (iChunktype == MNG_UINT_TERM)
      {                               /* is it in the wrong place ? */
        if ((pMydata->iLastchunk != MNG_UINT_MHDR) ||
            (pMydata->iLastchunk != MNG_UINT_SAVE)    )
        {
          pMydata->bHasTERM = MNG_TRUE;

          if ((pMydata->iError = mng_getchunk_term (hMNG, hChunk,
                                                    &pMydata->iTermaction,
                                                    &pMydata->iIteraction,
                                                    &pMydata->iDelay,
                                                    &pMydata->iItermax)) != 0)
          {
            fprintf (stderr, "Cannot get TERM fields.\n");
            return MNG_FALSE;          /* stop the process ! */
          }
        }
      }
      else
      {                                /* IHDR ? */
        if (iChunktype == MNG_UINT_IHDR)
        {
          if ((pMydata->iError = mng_getchunk_ihdr (hMNG, hChunk,
                                                    &iWidth, &iHeight, &iBitdepth,
                                                    &iColortype, &iCompression,
                                                    &iFilter, &iInterlace)) != 0)
          {
            fprintf (stderr, "Cannot get IHDR fields.\n");
            return MNG_FALSE;          /* stop the process ! */
          }
                                       /* is it not a typical JASC AS file */
          if ((iBitdepth != 8) || (iColortype != 6))
            pMydata->bIsJASC = MNG_FALSE;
        }
      }
    }

    pMydata->iLastchunk = iChunktype;
  }

  return MNG_TRUE;                     /* keep'm coming... */
}

/* ************************************************************************** */

int fixit (char * zFilenameI,
           char * zFilenameO)
{
  userdatap pMydata;
  mng_retcode iRC;
                                       /* get a data buffer */
  pMydata = (userdatap)calloc (1, sizeof (userdata));

  if (pMydata == NULL)                 /* oke ? */
  {
    fprintf (stderr, "Cannot allocate a data buffer.\n");
    return 1;
  }

  pMydata->hFileO      = 0;            /* initialize some stuff! */
  pMydata->hHandleI    = MNG_NULL;
  pMydata->hHandleO    = MNG_NULL;
  pMydata->bHasSAVE    = MNG_FALSE;
  pMydata->bHasTERM    = MNG_FALSE;
  pMydata->bIsJASC     = MNG_TRUE;
  pMydata->iLastchunk  = MNG_UINT_HUH;
  pMydata->iTermaction = 0;
  pMydata->iIteraction = 0;
  pMydata->iDelay      = 0;
  pMydata->iItermax    = 0;
                                       /* can we open the input file ? */
  if ((pMydata->hFileI = fopen (zFilenameI, "rb")) == NULL)
  {                                    /* error out if we can't */
    fprintf (stderr, "Cannot open input file %s.\n", zFilenameI);
    return 1;
  }
                                       /* let's initialize the library */
  pMydata->hHandleI = mng_initialize ((mng_ptr)pMydata, myalloc, myfree, MNG_NULL);

  if (!pMydata->hHandleI)              /* did that work out ? */
  {
    fprintf (stderr, "Cannot initialize libmng.\n");
    iRC = 1;
  }
  else
  {                                    /* some informatory messages */
    fprintf (stderr, "Compiled with libmng %s.\n", MNG_VERSION_TEXT);
    fprintf (stderr, "Running with libmng %s.\n", mng_version_text());
                                       /* setup callbacks */
    if ( ((iRC = mng_setcb_openstream  (pMydata->hHandleI, myopenstream  )) != 0) ||
         ((iRC = mng_setcb_closestream (pMydata->hHandleI, myclosestream )) != 0) ||
         ((iRC = mng_setcb_readdata    (pMydata->hHandleI, myreaddata    )) != 0) ||
         ((iRC = mng_setcb_errorproc   (pMydata->hHandleI, myprocesserror)) != 0)    )
      fprintf (stderr, "Cannot set callbacks for libmng.\n");
    else
    {                                  /* reaad the file into memory */
      if ((iRC = mng_read (pMydata->hHandleI)) != 0)
        fprintf (stderr, "Cannot read the input file.\n");
      else
      {                                /* run through the chunk list to get TERM */
        if ((iRC = mng_iterate_chunks (pMydata->hHandleI, 0, myiterchunk)) != 0)
          fprintf (stderr, "Cannot iterate the chunks.\n");
        else
        {
          if (pMydata->iError)         /* did the iteration fail somehow ? */
            iRC = pMydata->iError;
          else
          {                            /* can we open the output file ? */
            if ((pMydata->hFileO = fopen (zFilenameO, "wb")) == NULL)
            {                            /* error out if we can't */
              fprintf (stderr, "Cannot open output file %s.\n", zFilenameO);
              iRC = 1;
            }
            else
            {                          /* let's initialize the library */
              pMydata->hHandleO = mng_initialize ((mng_ptr)pMydata, myalloc, myfree, MNG_NULL);

              if (!pMydata->hHandleO)  /* did that work out ? */
              {
                fprintf (stderr, "Cannot initialize libmng.\n");
                iRC = 1;
              }
              else
              {                        /* setup callbacks */
                if ( ((iRC = mng_setcb_openstream  (pMydata->hHandleO, myopenstream )) != 0) ||
                     ((iRC = mng_setcb_closestream (pMydata->hHandleO, myclosestream)) != 0) ||
                     ((iRC = mng_setcb_writedata   (pMydata->hHandleO, mywritedata  )) != 0)    )
                  fprintf (stderr, "Cannot set callbacks for libmng.\n");
                else
                {
                  if ((iRC = mng_create (pMydata->hHandleO)) != 0)
                    fprintf (stderr, "Cannot create a new MNG.\n");
                  else
                  {                    /* run through the chunk again and create the new file */
                    if ((iRC = mng_iterate_chunks (pMydata->hHandleI, 0, myiterchunk)) != 0)
                      fprintf (stderr, "Cannot iterate the chunks.\n");
                    else
                    {                  /* did the iteration fail somehow ? */
                      if (pMydata->iError)
                        iRC = pMydata->iError;
                      else
                      {                /* now write the created new file !! */
                        if ((iRC = mng_write (pMydata->hHandleO)) != 0)
                          fprintf (stderr, "Cannot write the output file.\n");
                      }
                    }
                  }
                }
                                       /* cleanup the library */
                mng_cleanup (&pMydata->hHandleO);
              }
                                       /* cleanup output file */
              fclose (pMydata->hFileO);
            }
          }
        }
      }
    }

    mng_cleanup (&pMydata->hHandleI);  /* cleanup the library */
  }

  fclose (pMydata->hFileI);            /* cleanup input file and userdata */
  free (pMydata);

  return iRC;
}

/* ************************************************************************** */

int main(int argc, char *argv[])
{
  if (argc > 2)                  /* need two (2) parameters ! */
    return fixit (argv[1], argv[2]);
  else
    fprintf (stdout, "\nUsage: mngrepair <input.mng> <output.mng>\n\n");

  return 0;
}

/* ************************************************************************** */

redpajama_set_name: RedPajamaGithub


We are a group of four Europeans from The Netherlands who have been traveling through Europe to meet children who fled their home countries.
Since 2015 large numbers of refugees have come to Europe leaving their home countries behind due to war and persecution. When we hear about refugees in the media we hear these heartbreaking stories. Obviously, that is a big part of their narrative but this time we wanted to tell a different story so we packed our bags and traveled through 5 different countries to meet refugee children and ask them about their stories, hopes, and dreams for the future. The answers we found were incredibly interesting and touching.
Some dreamed of having superpowers to end the war in Syria, others wanted to become a stewardess, a reporter, have a Harry Potter Themed birthday party or just simply chasing butterflies all day. Once we captured their stories we created an image in which these dreams came to life (See photo's below).
The series is called "The Dream Diaries" and is a photo series of children who fled their home countries leaving everything behind except their hopes and dreams of a better future. No matter how traumatic their experiences were they never lost the ability and strength to dream. Exactly that strength, is the essence we tried to capture in this series. The series also contains a beautiful 6-minute documentary in which these children share their dreams.


UCC27211A: what's the difference of UCC27211A and UCC27211?
The UCC27211 and UCC27211A 4A, 120V half-bridge drivers are high performance drivers which have virtually the same specifications in the parameter table.
There are some differences however which I will outline below.
The UCC27211 is available in 4 packages which include the SOIC-8, Power Pad SOIC-8, SON-8, and SON-10. The UCC27211A is available in the SOIC-8 and SON-8 packages.
The UCC27211 includes in the device family the UCC27210. The UCC27211 has TTL compatible inputs to the drivers with input rising thresholds of 2.3V nominal and falling thresholds of 1.6V nominal. The UCC27210 has pseudo-CMOS compatible driver inputs with input rising thresholds of 5.0V nominal and falling thresholds of 3.2V nominal which provides higher hysteresis.
The UCC27211A also has an improvement to the noise immunity on VDD compared to the UCC27211. With a proper sized VDD capacitor and good layout the UCC27211 will perform as expected in the application. The UCC27211A was improved however in the case of excessive noise on the VDD to VSS pins.


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Intelligent control systems exist in many sectors ranging from manufacturing to healthcare. This course is concerned with the design and analysis of intelligent control systems for real-world applications. In the analysis of the system, given the system, we wish to determine it characteristics or behaviours. In the design aspect, we specify the desired system characteristics or behaviour, and we will configure or synthesize the intelligent system so that it exhibits these desired qualities.
In this advanced control course, fundamental principles and practices pertaining to design and analysis of sampled-data systems will be covered. Specifically, the concept of sampled-data control, modelling techniques, stability, dynamic response and frequency domain analysis and a widely used control strategy such as Proportional-Integral-Derivative (PID) Controller as well as modern control technique such as state-space feedback control will be covered. In many real-world problems, models of the plant/process to be controlled are either difficult to obtain or impossible to obtain. As such, data-driven modelling techniques which enable models to be derived from input and output data. Specifically, neural-networks-based controllers which have the learning ability and fuzzy-logic-based controllers which can deal with uncertainties will be covered.
This course is presented an interactive seminar and discussion style with case studies to illustrate the principles and concepts taught. Hands-on sessions will be carried out in Day 3.
Participants will have a good grasp of the fundamental principles of sampled-data feedback control and will be able to design an intelligent controller for complex dynamic systems.
Engineers, researchers, scientists and managers who are involved in control engineering design and problem solving. It is also strongly recommended for those who would like to establish and strengthen their foundation in Advanced Control.
- Selection of sampling rate; Analysis of sample and hold; Spectrum of a sample and aliasing; Data extrapolation and impostors; Anti-aliasing filters; Tracking effectiveness; Disturbance rejection; Hardware characteristics.
- Control law design; Estimator design; regulator design; Introduction of the reference input; Integral control; pole placement using polynomials; controllability and observability.
- Analysis of round-off errors; Effects of round-off of parameters; Limit cycles and dither.
- The fundamental principles of Neural Networks will be presented. The pros and cons of using Neural Networks will be discussed. Controller design using Neural Networks Toolbox will be discussed and demonstrated.
- The fundamental principles, the pros and cons of using Fuzzy Logic and Controller design using Fuzzy Logic Toolbox will be discussed and demonstrated.
- An introduction to MATLAB and Simulink; Block diagram reduction using MATLAB; Linear system analysis using MATLAB; Dynamic modeling using Simulink.
- The dynamic model of a Magnetic Levitation System will be derived. Subsequently, an appropriate intelligent controller will be designed and simulation using Simulink. The control gains will be tuned automatically.


Scarlet Gray Joins The Parade is a wonderful children's book! It is a great short story that explains the importance of keeping promises and obeying instructions from mom and dad. This would be a great addition to any church, library, school or home and a great gift for early readers!


For those wanting a somewhat longer knife, Daniel developed the Winkler Knives II Field Knife. This knife is made from 3/16" thick, 80CrV2 carbon steel. A Caswell finish is both non-reflective and protects from rust.


text:
Home Featured Featured Articles SON OF 'JAPANESE SCHINDLER' DEDICATES MEMORIAL IN JERUSALEM
SON OF 'JAPANESE SCHINDLER' DEDICATES MEMORIAL IN JERUSALEM
Nobuki Sugihara, son of Japanese diplomat, Chiune Sugihara (depicted in black and white picture), who helped saved thousands of Lithuanian Jews in World War 2, speaks during a street-naming ceremony in honour of his father in Netanya, Israel June 7, 2016.. (photo credit: BAZ RATNER/REUTERS)
Roughly 6,000 Jews were saved by Chiune Sugihara, Japanese ambassador to Lithuania in 1940, who granted them visas to travel to Japan and escape the Nazis.
BY ZACK EVANS FEBRUARY 16, 2019 06:06
The story of Oskar Schindler, the German industrialist who saved hundreds of Jews from death in the Holocaust and honored by Yad Vashem as a "Righteous Among the Nations," is one of the most well known episodes in Holocaust history. Less well known is the story of the "Japanese Schindler," Chiune Sugihara, who according to estimates saved roughly 6,000 Lithuanian Jews simply by granting them visas.
Sugihara was Japan's ambassador to Lithuania in 1940, when the Germans invaded the country. Jews came to the Japanese consulate in the hope of obtaining visas to escape the Nazis. The Japanese government denied Sugihara's request to grant them visas, but he decided to disobey the order and grant them anyway.
He was able to print and stamp about 2,000 family visas, on which multiple people could travel, before he was forced to leave Kaunas (at that time the Lithuanian capital).
According to witnesses, he kept writing visas on his way to the train, and when he ran out of time he threw papers stamped with the consulate seal and his signature out the train window, so that refugees in the following crowd could write the visas on their own.
Once he returned to Japan, he was fired by the government for disobediance. A report on Israel's Kan News followed Sugihara's son, Nobuki, at a dedication of a plaque for his father at the Chamber of the Holocaust, a small museum on Mt. Zion in Jerusalem. The elder Sugihara was recognized as a Righteous Among the Nations in 1985. He refused a monetary award from the Israeli government, but he agreed to accept a scholarship for his son to study in Jerusalem.
"My father didn't tell me anything [about his work in Lithuania] when I was a child," said Nobuki in Hebrew in an interview with Kan. He was 19 years old when he discovered what his father did.
After asking his father what he thought when he was granting the visas, Chiune replied that he only hoped that one or two Jewish refugees would escape from the situation in Europe.
Source: JPOST
Chiune Sugihara
Japanese Ambassador to Lithuania
Japanese Schindler
Sugihara
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Students struggling with data? Digital Data Nuggets are free NGSS-aligned resources that help students ask their own questions, explore digital platforms, and utilize reliable sources of LTER data. Hands-on demonstration. Participants are encouraged to bring their own laptops to demo the resources presented.
I am a recently retired science teacher (of 33 years) that has the opportunity to stay active in science education through NSF monies and Data Nuggets.


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Kansas is usually a US state referred to as after Iowa river. Their state is enclosed by Nebraska on the northern; Missouri for the east; Oklahoma on the southern region; and Denver on the west. It is split up into 105 areas with 628 urban centers. The economic climate of the condition is based on both business and farming products.
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Be wary of the company that is relatively new. They might still be understanding the ropes along with making mistakes. You don't want to hire a roofer that might destruction your garage or not meet their booking commitments.
Several junk treatment companies supply Dumpster Rental in Nelliston as an alternative to a truck and also a team associated with lifters. In such cases, the company will drop off a clear chair dumpster for a chosen rental period. You will end up responsible for filling up the dumpster by yourself, and the crap removal corporation will get back to pick up the particular container as well as its contents when you're through. Dumpster rental could be a cheaper selection for junk along with trash treatment, because you are certainly not also paying for labor, however you have to look at your ability to maneuver the crap on your own prior to you buying this option.
Don't buy any smaller than you'll need, either. Trash Dumpster Rental in Nelliston organizations are more than happy to create you a new dumpster when they arrived at pick up ones old just one, but it's likely to cost you. Let alone the fact that there is certainly only thus small a dumpster's going to proceed. If you have a lot of trash for a pickup but not enough for a 10 yard dumpster yourrrre still going to wind up paying for whole rental on that next dumpster. Talk to the client service representative at your garbage Dumpster Rental in Nelliston provider discover sure the size of you need. They could help you make the best choice the first time.
Renting a dumpster is a very beneficial service for most companies simply because it serves the purpose of saving time, assists in maintain cleanness around workplace, helps a lot of construction companies to get rid of there outstanding in a very straightforward technique. But before opting for any Dumpster Rental in Nelliston support it is very important to keep previously referred to points under consideration.
DIY or maybe Home Renovation Tasks: Roll Down dumpsters are a risk-free and hassle-free way to obtain debris in the home renovation or maybe do-it-yourself project. Obtain lumber or maybe wood waste, windows, drywall, flooring, previous doors, accessories, pipes, home siding or any other type of construction or maybe demolition dust. The items may be used safely inside a dumpster without having to worry about anyone or maybe anything receiving injured by simply old rustic nails, razor-sharp metal perimeters or splintered lumber.