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PARP inhibitors
ESMO 2010
8 - 12 Oct 2010
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Published: 1 Nov 2010
Prof Ruth Plummer - Newcastle University, UK
Prof Ruth Plummer speaks about the development of PARP inhibitors. Whilst none of these drugs have been licensed yet, BSI-201 has entering phase III clinical trials for metastatic triple negative breast cancer. Prof Plummer explains that the activity of PARP inhibitors, targeting a defect rather than the specific disease, indicates that they will be effective against a number of different cancers. Prof Plummer concludes by suggesting how these treatments will be made more effective by potentiating drug activity as opposed to the toxicity and discussing the challenges of developing radiosensitisers and explaining the potential of new radiosurgery technologies.
35th ESMO Congress, 8–12 October 2010, Milan
Interview with Professor Ruth Plummer (Newcastle University, UK)
Where are we with PARP now?
I think it's become very exciting. As you know, up in Newcastle Hilary Calvert set up the programme to make a PARP inhibitor in 1990. I started working on that programme, developing an assay and wrote the clinical trial in the early 2000s and it was 2003 I wrote the first script for the first PARP inhibitor that was given to a cancer patient, which again we did the first three up in the North East as a Cancer Research UK sponsored study. But it's really exciting now – there are nine compounds in the clinic and it's a very exciting field.
The oncologists at ESMO won't know where to start, will they? Have you got some advice for them? None of these drugs are yet available out of a clinical trial, or are they?
No, there isn't a licensed compound yet.
For any of them? Right, that's got to be very clear.
For any of them. The only one that's entered phase III is the BiPar compound which is now with Sanofi-Aventis, has completed recruitment to a phase III breast cancer study.
What kind of breast cancer patients?
Triple negative breast cancer.
And tell us why?
They had data initially in cell lines with potentiation of chemotherapy in triple negative. Triple negative breast cancer biologically behaves in a similar way to the BRCA-mutated breast cancer in it's got a double-strand break repair defect or a homologous recombination defect, or appears to have, for a number of those tumour types. So that's where strategically BiPar and then Sanofi have gone, extremely successfully – Joyce O'Shaughnessy has just presented the updated data from their randomised phase II showing an overall survival benefit and very powerful hazard ratios for that.
And that was in triple negative women with metastatic breast cancer and with the BRCA1 mutation?
With metastatic breast cancer. Some of them had a BRCA1 mutation, but not all of them.
And did it matter?
I haven't yet seen their stratification-- I'm not sure the stratified data is out there, but some of those patients had a BRCA1 mutation.
So you've got a very unique oversight, having been in the PARP development area from day one almost. Where do you see them finding their place in clinical management - in breast, ovary, prostate? It doesn't need to be a particular tissue, does it? It's the defect.
It's the defect and I would hope that's the way we're going to go with most of the targeted therapies in that yes, it helps us understand the biology of cancer to know it was a breast cancer, it was an ovarian cancer, but we're increasingly seeing it's a c-KIT mutated cancer, it's an EGFR mutated cancer, it's a BRAF mutated, and we'll be looking for HR defects when somebody works out how to do that signature and identify those tumours that are so uniquely vulnerable, like the BRCA mutated ones, you've then got the single agent PARP activity data which is clearly there. But the element I was talking about today, which is equally interesting, is if you protect DNA damage that you've caused by your DNA damaging agent, can you have a therapeutic index? Can you get a window in the tumour? And that has real implications for the scheduling because you've got an active agent where you're doing combination toxicity in a different way when you've got an agent where you're trying to potentiate not the toxicity but the activity of the drug you're giving it with. So there are two forms of scheduling research we need to do.
And you're doing that?
Yes, well I'm discussing with people, yes. There are ways of looking at it, it's where you think you're going to see your activity and how you're aiming to use your PARP inhibitor and how you're going to profile your patients. Because you may want to separate the chemotherapy and the PARP inhibitor if you're just trying to use its single agent activity in combination with other active agents. Or if you're chemo- or radiopotentiating you need them together when the damage is there.
When I was talking to Hilary Calvert earlier, a good friend, he was talking about radiosensitization as well and not to forget that. Is that also of interest to you?
Yes, I've designed a number of radiopotentiation studies that are being mulled over with various sponsors now. It's a fascinating challenge on how you would do that because typically in radiotherapy you have to accept, despite being a medical oncologist, it's the commonest 'agent' given to cancer patients, it's probably one of the most active. So it's quite difficult to improve its activity in clinical settings because you need to pick an inactive setting to improve on something because you wouldn't want to take the dose down. But where it is active it's also very long schedules and, I was saying in my talk, you've got the interesting concept of if we want to safely give it with a PARP inhibitor, not only do you need to look at different sites, because will the normal tissue toxicity in lung be different if you then give your local treatment to the bowel? Whereas at least when we're testing drugs with a systemic therapy we can be reasonably confident we've tested all the combined toxicities all at once just by giving a drug. But with a local therapy combined with a systemic therapy you've got different elements to check but you can increase the dose of the chemotherapy, the PARP inhibitor, you might want to take down your radiotherapy fraction size, although I think they'd be reluctant to do that, but also you've got that horizontal dose escalation because of the length of the schedule. You could give it on alternate days with the radiotherapy, you could give it at the end, at the beginning and you've got to think about late tissue toxicity. So I think it's something we need to do and I think it's in some ways you could say that the clinical trial design is perhaps more interesting and more challenging.
And the radiation therapy is going in the opposite direction with only three fractions and a very much higher fraction dose with gamma knives and other sorts of knives. I was at the ESTRO meeting lately and they were talking about radio-surgery, they're unbelievably accurate now with their targeting. And they're trying, indeed, to get away from six weeks of post-operative radiation for breast cancer patients, getting it down to three weeks and then down to one week.
Yes, the gamma knife, it needs to be a small tumour, you've got to pick your patients, but with TomoTherapy and the IGRT and the IMRT where they're really starting to paint the tumour, that in terms of combining with any of the novel agents, which there's a real push to do that as we get these powerful drugs into the clinic, is going to make it easier because if you're sparing normal tissue from the radiotherapy you're going to spare toxicity. So I think the newer radiotherapy methods will make this sort of combination study easier.
Ruth, thank you very much indeed for giving us your time, that's really interesting. That was a great PARP session today, congratulations.
It's a pleasure. You know I'm always happy to talk about PARP.
Thank you very much indeed.
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Prof Christos Markopoulos- National and Kapodistrian University of Athens...
Longest follow-up of patients with early breast cancer shows radiotherapy does...
Prof Ian Kunkler - University of Edinburgh, Edinburgh, UK
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Opinion: Premature regular approval by the FDA
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Prof László Tabár - University of Uppsala, Uppsala, Sweden


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Q: Git duplicate file entry? I changed the ignorecase value on git config to false but now when I edit I file and check the status, git tells me that two files were modified though its actually the same file:
modified:   ACFCache/AcfOptionsPlant.php
modified:   AcfCache/AcfOptionsPlant.php

How can I make git forget the ACFCache entry?

A: From reading this question I believe the following would have worked for you at the beginning, without even setting ignorecase to false:
git mv ACFCache tempname && git mv tempname AcfCache
git add .
git commit -m 'Changed folder name'

Now, you might try the following:
git checkout -- ACFCache/AcfOptionsPlant.php
git stash    # save changes to AcfCache/AcfOptionsPlant.php ONLY
git mv ACFCache tempname && git mv tempname AcfCache
git commit -m 'Renamed ACFCache folder to AcfCache'
git stash apply
# carry on as you were

I think you can go back to being in ignorecase mode in true:
git config core.ignorecase true

redpajama_set_name: RedPajamaStackExchange


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The Kingdom of four nations, that is, Great Britain.
The English flag is St. George's Cross. The Welsh flag is the Dragon Cadwallader. The Scottish flag is St. Andrew's Cross. The Ireland flag is St. Patrick's Cross. The Lion Rampant also represents Scotland, like the thistle (=cardo). The plant that symbolize England is the rose. The symbolic plants of Wales are the leek (=puerro) an the daffodil (=narciso). And the plant that symbolize Ireland is the shamrock (=trébol).
By colors, white represents England, orange represents Wales, blue represents Scotland and green represents Ireland.
The patron saint's day of England is 23 April (St. George). Of Wales, 1 March (St. David). Of Scotland, 30 November (St. Andrew). Of Ireland, 17 March (St. Patrick).


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redpajama_set_name: RedPajamaCommonCrawl


text:
Battle of the Titans - Encarta vs. the Britannica
Interview with Tom Panelas (Britannica)
By: Sam Vaknin, Ph.D.
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Q: Would you agree that the Britannica and the Encarta cater to different market segments and that the Britannica provides more in-depth coverage of its topics while the Encarta is a more complete, PC-orientated reference experience? If so, what is the market positioning of the Britannica's Elementary and Student Encyclopedias?
TP: The most important thing about Britannica's Ultimate Reference Suite is that is has three encyclopedias -- one for every reading level - and therefore can be used profitably by the whole family. So, yes, the Encyclopaedia Britannica itself is the more comprehensive encyclopedia, but realize also that the Ultimate Reference Suite also has Britannica Student Encyclopedia, created for the same age range as Encarta, and Britannica Elementary Encyclopedia, for younger readers.
So our positioning is that Britannica serves you from grade school to graduate school and beyond.
Q: Both encyclopedias offer an embarrassment of riches. Users find the wealth and breadth of information daunting and data mining is fast becoming an art form. Encarta introduced the Visual (Virtual) Browser and Britannica introduced the BrainStormer to cope with this predicament. Are there any improvements - or alternative solutions - planned in future editions?
TP: The 2006 edition will include search enhancements to BrainStormer. They're under development right now, so I don't have too many details. We also have some unique indexing systems that underlie the structure of the Britannica database, which our indexers have been at work on for years. We expect these to be the basis of some powerful search and
browse applications in the years ahead.
Q: How does your product strike a balance between browsing and research? Is one activity encouraged over the other?
TP: Most people like to do keyword searching, so we try to keep that working sharply, but we have also tried to introduce as many other ways to access information as possible, such as subject browse, index browse, atlas, timelines, and BrainStormer. People have different learning styles and different preferences for how to find information. We try to indulge all of them.
Q: The Encarta and the Britannica offer competing models for interacting with the Internet. Both offer updates - the Encarta weekly or bi-weekly and the Britannica 2-4 times a year. Both provide additional and timely content and revisions on dedicated Web sites. But the Encarta conditions some of its functions - notably its research tools and updates - on registration with its Plus Club. The Britannica doesn't. Are you considering a change in your approach?
TP: We're not.
Q: The Encarta incorporates numerous third-party texts and visuals (including dozens of Discovery Channel videos, hundreds of newspaper articles, and a plethora of Scientific American features). The Encarta's multimedia offerings are also impressive with thousands of video and audio clips, maps, tables, and animations. The Britannica provides considerably more text. Is the Britannica planning to follow suit or will it remain mainly text based?
TP: Well, I wouldn't say we're "mainly" text based - we have added a lot of multimedia over the years, and we've won some awards for our multimedia - but we will continue to offer comprehensive information for all ages. When you come down to it, the information that really matters in reference works is words. We'll continue to add multimedia as well, space permitting, but covering a topic thoroughly and properly comes first.
Q: Will the Encarta/Britannica integrate with new desktop search tools from Google, Microsoft, and others?
TP: Yes, that's a priority for 2006.
Q: In the editorial process, how do you cope with contemporary and recent developments, minority-sensitive issues, and controversial topics (such as abortion and gay rights)?
TP: This question calls for a treatise of its own. We have advisers all over the world consisting of the top scholars and experts in all fields, and with their help we try to bring reason and evidence to bear on developing the best approximation of truth that is humanly possible. Yes, it's hard work, because people disagree on many things, but it can be done reasonably well if you're determined. We strive to the extent possible for coverage that are universal - that is, it takes all major perspectives around the world into account and does not favor one "civilization" over another. One thing we insist on in all of our encyclopedias, regardless of language or what country they are published in, and that is that coverage of a topic be consistent everywhere. Like our eighteenth-century forebears, we believe that there is such a thing as truth and it is possible for humans to know it. Creating an encyclopedia is one of the ways humans do that. So we don't have different "truths," plural, for different countries or markets. We don't pander to local sensitivities or myths by covering a topic one way in one country and a different way in another.
Q: What features cater to the needs of challenged users, such as the visually-impaired?
TP: Most of the navigational features for which most people use the mouse have keyboard equivalents. We plan to do more in this area. We have concentrated in recent years on making our school and library products compliant with the U.S. Americans With Disabilities Act because the demand for this in that area is so strong. We are now turning to doing similar things with our consumer products.
Q: The atlas, dictionary, and thesaurus incorporated in both products are outdated. Why not use a more current - and dynamically updated - offering? What about dictionaries for specialty terms (medical or computer glossaries, for instance)?
TP: Sam, Can you give me examples of outdated dictionary information? We haven't seen much demand from our customers in specialized dictionaries.
Q: Both encyclopedias consume (not to say) hog computer resource far in excess of the official specifications. This makes them less suitable for installation on older PCs and on many laptops. The Macintosh interfaces are also clunky. How can and will these limitations be tackled?
TP: We plan to improve speed and performance in 2006, especially for Mac, since we seem to be the only ones these days with a Mac version.
The Battle of the Titans - Britannica vs. Encarta
Revolt of the Scholars
The Idea of Reference
The Future of the Book
The Kidnapping of Content
The Internet and the Library
The Future of Online Reference
Will Content Ever be Profitable?
The Disintermediation of Content
The Future of Electronic Publishing
Free Online Scholarship - Interview with Peter Suber
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The author's name and a link to this Website must be incorporated in any reproduction of the material for any use and by any means.
The Internet Cycle
The Internet - A Medium or a Message?
The Solow Paradox
The Internet in Countries in Transition
The Revolt of the Poor - Intellectual Property Rights
The Demise of the Dinosaur PTTs
The Professions of the Future
Knowledge and Power
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Poetry of Healing and Abuse: My Poems
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text:
Soßmar is a village in Lower Saxony, about 30 km south of Hanover, 13 km east of Hildesheim and 12 km west of Peine, a few minutes from the national highways B494 and B65. The motorway A2 via Peine, Hämelerwald, Lehrte or Sehnde/Ilsede/Hanover can be reached in about 20 minutes and the motorway A7 via Sehnde/Ilsede/Hanover or Hildesheim/Drispenstedt in the same time.

Neighbouring places

Hohenhameln, Clauen, Bierbergen, Bründeln, Neu Oedelum, Rautenberg

Places that belong to the Hohenhameln Community

Hohenhameln, Soßmar, Clauen, Bierbergen, Bründeln, Harber, Mehrum, Ohlum, Rötzum, Stedum

History

Sossmar is possibly over 1,000 years old. There are references that the monastery acquired Corvey with Hoexter at the Weser between the years 826 and 853 possession at a settlement with the name Sursia. The only following name forms are occupied: 1146 Sutherem, 1243 Sutterum inxta Hamelen, in 14th century then Sozerum, Sothzerum and Zocerem.
Soßmar was first mentioned in a document dating from the 11 March 1146 granting the monastery 8 morgen of farmland.

Religion
Since 1542 the church community is Evangelical-Lutheran.

Management ratios
777 inhabitants compared to 9,461 inhabitants in the whole community.

Coat of arms

Soßmar's coat of arms shows Saint George and his fight with the dragon.

According to the legend, a dragon made its nest at the spring that provided water for the city of Cyrene in Libya or the city of Lydda, depending on the source. Consequently, the citizens had to dislodge the dragon from its nest for a time, in order to collect water. To do so, each day they offered the dragon a human sacrifice. The victim was chosen by drawing lots. One day, this happened to be the princess. The monarch begged for her life with no result. She was offered to the dragon, but there appeared the saint on his travels. He faced the dragon, slayed it and rescued the princess. The grateful citizens abandoned their ancestral paganism and converted to Christianity.

Patronage and remembrance
In 1969, Saint George's feast day was reduced to an optional memorial in the Roman Catholic calendar; the solemnity of his commemoration depends on purely local observance. He is, however, still honoured as a saint of major importance by the Eastern Orthodox Church and in Oriental Orthodoxy.

External links
 Soßmar official website – partly in english

References

Villages in Lower Saxony

Equord

redpajama_set_name: RedPajamaWikipedia


6 LED Lights, with side view mirror, and hook, support Windows OS.
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text:
philipbrasor.com
Last words from Tokyo
← Media Mix, Nov. 28, 2010
Media Mix, Dec. 5, 2010 →
Seriousness and innocence: A chat with Apichatpong Weerasethakul
Posted on December 1, 2010 by philipbrasor
It's easy to understand why Apichatpong Weerasethakul's latest film, Uncle Boonmee Who Can Recall His Past Lives, was chosen as the opening movie for the latest Tokyo Filmex. It was the Palme D'or winner at Cannes in May, which shouldn't have been as surprising as many people made it out to be. Given Thailand's reputation as one of the most dynamic movie-producing countries in Asia, a Thai film was going to triumph sooner or later at a major Western festival, and Weerasethakul's have already attracted a great deal of attention in Europe. Moreover, the 40-year-old director belongs to that club whose films always get shown at Filmex, which this year he was attending as a member of the competition jury.
As Weerasethakul is the first to admit, his films are an acquired taste. "I'm so grateful that so many people came today," he said during his remarks prior to the screening at Tokyo International Forum. "I'm just afraid that when the movie opens here commercially in March, there won't be anyone left who wants to see it." Boonmee will in fact be his first feature ever distributed in Japan, owing undoubtedly to the Cannes win, but as he implied wryly it's not necessarily more accessible than his previous films. Like Hou Hsiao-hsien and Jia Zhangke, Weerasethakul has his a unique narrative style. Uncle Boonmee is ostensibly about a middle aged man dying from a kidney ailment who makes peace with his fate. Along the way he has conversations with his dead wife and a son who went missing years ago and has returned as a kind of hairy beast. Weerasethakul also inserts seemingly unconnected sequences that may or may not represent Uncle Boonmee's past lives as a princess and a water buffalo, and there are other digressions that have even less to do with the protagonist. As the director also said during his opening remarks, it's better if the audience simply allows the film to "flow through you." It's an immersive experience, both visually and aurally.
I talked to Weerasethakul in the tiny offices of Cinema Rise, the Shibuya movie theater company that specializes in hip indie cinema. Though he was as subdued and gracious as his films, he was also impish. He understood the irony of a filmmaker like him winning at Cannes and he was not going to not take advantage of it.
Interview after the jump.
-Had you seen any of the Filmex competition movies before?
-What was your opinion of the Malaysian film, Year Without a Summer?
I think it was the best film in the section.
-I thought you'd like it.
It was like a dream. The filmmaker didn't place any restrictions on herself. She didn't follow any normal rules or conventions. She created her own sense of time and made the audience feel that, which is something very difficult. I actually slept during the film. But that doesn't mean it's a bad film. I've often slept during my own films. So I thought it was very special. Very strong.
-When I saw it at the Pusan International Film Festival many people thought it was similar in style to your films.
Really? I don't think so.
-It did have that divided structure, like in Tropical Malady.
But in the beginning we saw the main character hunting the wild boar in the jungle, and then again in the end. For me that indicated an unbroken stream of consciousness. My work is totally different. But, in any case, we gave the award to someone else. (The Japanese film Love Addiction)
-Before the screening at Filmex you encouraged the audience to just let the sights and the sounds of the movie flow through them. Is that something that audiences need to be told to do?
Maybe. It's easier to do for some people but still hard. I think in order to appreciate certain kinds of films, my films included, you have to be very open-minded. You can't limit yourself to expectations. You have to be attentive so that you can pick up the references, but for me the best way is for the audience to just take it easy. It's like traveling to another country and you don't have the time to turn back. All these colors and images should just be received as they are. Of course, I have my own references and they mean something to me but I can't explain them for the sake of explaining them. Still, I think most of the things in my films are universal enough for people to bring away something meaningful, at least for themselves.
-To get that you probably need to immerse yourself in the movie. While watching it I realized that I wasn't sitting close enough.
Where was your seat?
-It was in the back of the auditorium.
Yes, that's too far away. It's meant to be an enveloping experience.
-Do you think about the audience while you're making a movie?
No. Of course, I realize that people may not react positively to some things, but my first concern is that the movie conveys certain feelings. It has a lot to do with the editing, which is the stage in the process when I might think more about the reaction. But I'm always the first audience, and I'm very critical. There are many films that I've wanted to make but they haven't been made because they're too personal. The producers say, "no." But this kind of film is all right.
-So producers turn down some of your ideas as being too personal?
Yes, there are other projects of mine that haven't gotten off the ground for that reason.
-But this movie seems quite personal to me since it had to do with memories of when you were growing up. Or is it simply a matter of nostalgia?
For me it is. It's also a comedy, and the humor is nostalgic.
-That element might be difficult for someone who's never been to Thailand.
Yes, I think so. Most of the nostalgic elements have to do with the representation in many scenes, the kind of lighting and the storyline and pacing, and the acting, especially. It's all very old-fashioned. Each reel has a specific reference, but it doesn't really matter. When I planned the movie I destroyed and then recreated certain boundaries for the audience. I wanted it to be open. I've had experiences where people say to me that they saw the movie once and then after I've explained things to them they've seen the movie again–I heard this a lot at Cannes–and they later told me, "You destroyed the movie for me." (laughs)
-Things can be over-explained.
-Nostalgia has to do with memory. Do you think you have a reliable memory?
My memory is very fuzzy. I don't really think we can convey through writing or especially film the truth of a situation that happened. It can only be relative. Like when you remember your first date, let's say. You and the other person might have been having a drink together and your memory can be very cinematic, meaning that it's selective. You direct your own memory, so you might just focus on the other person's eyes for a really long time. But that isn't what probably really happened. So I just throw away the facts altogether. It's the effect I want, not the truth so much.
-Your previous movie, Syndromes and a Century, was about your parents before you were even born.
Right. All I did was put this man I know, this dentist, into a daily routine I was familiar with.
-Following a story your parents told you?
Well, it's my own story. As far as my parents' involvement, I interviewed my mother about her love of orchids and the time my father interviewed my mother, and I worked that all into the film.
-There are some really touching relationships in that movie. Not touching in the usual sense of the word, but affecting. The characters really seem to know one another.
They didn't know each other before we started filming. But we had quite a period of rehearsal, or workshops. While we filmed we lived together. It wasn't filmed in Bangkok. With professional actors that would be impossible–at the end of a scene they go back to their trailers. But we ate together, and since we didn't have money we all stayed in a big boarding house and tried to stay away from people who snore. It's like a camp on location.
-Do you write your movies as you go along?
Usually. For Syndromes I had funding for two parts, but then I changed my mind about the second part and took a break for one month. Fortunately, I have a really good producer, and our films are always low budget, so he understands. Uncle Boonmee, however, stuck pretty close to the original script.
-You said your main references for Uncle Boonmee were TV shows from you childhood. Can you give me a better idea what those old shows were like?
What I was trying to capture was the style, in TV shows and in comic books, when a ghost and a human interact or coexist. Like in the scene where Uncle Boonmee's wife comes back. It's no surprise. It's more like a lamentation. Those old shows took their time. They showed people cooking or making beds and even making love. The line between real life and screen life was blurry. They shot on 16 millimeter in a studio with very bad lighting, very harsh; and the rhythm and the special effects weren't very good from a current perspective. But I missed that, because nowadays everything is the same. You hear the same music, they use the same lighting. What I did in this film is not new. It's a reconstruction. And when we showed the film in Thailand people loved it. They appreciate the slower pacing.
-So people in Thailand immediately understand what you're trying to recreate.
At least my generation or older. For example, that "princess" scene? We have this royal costume drama which is still going on on the television. But it's done differently now, with lots of special effects. In the past it was done in a simpler way–just cut to express something disappearing. Camera tricks. It was very innocent.
-How do your films do in Thailand? I assume your reputation has grown.
Yes, mainly because of the Cannes award.
-That would go without saying.
Not really. Many people in Thailand had never heard of Cannes, didn't know what it was. The festival took place during a very crucial time in Thailand, politically.
-I read that you actually had trouble leaving the country for France.
Right. It was chaos. And so when my movie won, it was a nice piece of international news for Thailand. I think that's one of the reasons people embraced it. When we decided to show the film, earlier, I figured we'd only need one print. It's not for everyone. But if I knew it was going to win, I would have ordered more prints, because we had to send the negative to Germany before we released it. At that time I decided only one print was necessary, because that's all the money we had. And then the movie did so well. It was in the theater for six weeks and every screening was packed.
-In Thailand.
In Thailand. It opened there first, before anywhere else in the world. Then it went to other cities. It broke records in terms of attendance per screening. Keep in mind that's only one print. So many people went to see it and some people liked and some people didn't like it. But what I appreciated was how it could generate a lot of discussion, and how the theater chains were suddenly open to independent films. Now, one cineplex dedicates a theater to video works. They even show student films.
-The only other Thai film I've seen recently is Red Eagle, which seems big budget.
Oh, yes. Wisit's film. Do you know his previous films?
-I know Tears of the Black Tiger, which I liked, and Nang Nak, which I liked a bit less. I didn't know how to process Red Eagle, though. It was quite violent. First, I thought it might be a parody. Isn't it based on an old comic book?
It's based on an old movie series.
-I guess it's going to be a series, too, because it ended with a "to be continued" message.
Right. I was shocked when I saw that. But the director himself said that he had lots of problems making it. Actually, he said that this will be his last film. I thought, "You don't really need to say that." It's a shame, because he's a very good director.
-The program notes when I saw it in Pusan said it had some political meaning.
(Makes a face indicating he doesn't agree)
-Going back to the "princess" sequence in Uncle Boonmee, is that from some kind of folk tale or did you make it up?
I made it up, but it's in the style and the mood I referred to of old TV series, those old royal costume dramas. They were always about royal people and had animals that could talk. But I didn't base it on any specific source.
-Do these old dramas have a lot of magic in them?
Yes, but in a very innocent way. Serious and innocent. (laughs) Some of those old shows were based on traditional tales that everybody knew because we'd been taught them. And there are still series, soap operas like that, which remain. Recently there was one about a woman who turns into a fish, and her sister is a wicked human who tries to kill her. But it's done differently. It's not in that old style.
-I heard about a project you're working on called Utopia. Will that be your first film made outside of Thailand?
Yes, but one of the reasons it's called Utopia is that it will be very expensive, so I don't really think I'll be able to do it. Maybe if I change the title it will happen. (laughs)
-What's it about?
Well, I've been working a lot in the jungle, which is all green. Now I want to make a white movie. It takes place in this time after civilization ends, a nondescript time. And it's a journey of one kind of prehistoric man. He's the experiment of a group of scientists who are now very old, and they are all women. In fact, they are all women from old science fiction movies.
-Real science fiction movies?
Yes, I want to use real Hollywood actresses to follow this prehistoric man, to track him down and record his activities. Of course, they eventually stumble on to a film set that's falling apart. It's the film set of the Starship Enterprise from Star Trek. So you can imagine how expensive the film will be. The whole film talks about the dying out of the science fiction genre as we know it–Ray Bradbury, Asimov, the kind of science fiction I really love.
-You grew up reading those authors?
Yes. So this film is really special, "utopia." I want to record the history of cinema and the aging of these particular women and how they…it's a mix of fantasy and nostalgia. But in the end it's proved to be too difficult. I even went to see Ray Bradbury to ask if he would collaborate with me. But he's still very busy, still active. When we went to visit him he had just won some sort of prize.
-So if you did get a chance to make Utopia, it would be the first time for you to use professional actors.
Yes, if I could do it I would even use Jane Fonda. Just because she was once in Barbarella.
-How about Sigourney Weaver?
She's not that old, is she?
-You want to use even older actresses?
Yes…well, I cannot say "old," because they might be very upset. (laughs) Certainly I would want to use someone who is comfortable with their age. I met one person who, again, is not that old but she played a doctor on Star Trek.
-The original TV series?
Yes. I even talked to her about it.
-Since that isn't going to happen soon, are you working on other films right now?
Yes, I am producing two films by young Thai filmmakers. And I'm making a short film for television. And I'm gathering ideas for a new feature movie.
-Are more young Thai filmmakers taking you as an example?
I think so. But I don't want people to copy me. I don't want them to make a movie like mine simply because I won at Cannes. I try to think positively, that the award will just motivate people to grab a camera.
This entry was posted in Movies and tagged Apichatpong Weerasethakul, Cannes Film Festival, Palme d'Or, Thai cinema, Tokyo Filmex. Bookmark the permalink.
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Helix mattress needs its consumers to take a Sleep Quiz. This is more of a questionnaire that helps the sleep professionals and engineers at Helix to comprehend your requirements. This Sleep Quiz takes 2 to 3 minutes. Helix treats sleep as science and the mattress as a piece of innovation, which is not really various from how contending brands like Casper, Leesa, Purple or Nectar approach their own mattresses. When the quiz is taken, Helix sleep professionals and engineers work on the design, material and every physical quality of the bed mattress that will suit the needs of the specific person or couple who had taken the test. This process is called the Helix Sleep System by the business. The business takes a couple of days to create and produce the customized Helix bed mattress. The mattress is made in United States based factories and it eventually gets shipped within 10 service days. You would get free shipping anywhere within the United States. In many cases, the tailored Helix bed mattress is delivered within 10 service days.
The most noteworthy attribute of Helix bed mattress is its ability to genuinely comprehend the sleeper. The test assists in the process. There is the common protector for the mattress to avert wear & tear and to protect the mattress from spills and dirt. The personalization is truly beneficial given that the designers, sleep specialists and engineers do not simply come up with basic features across the entire bed mattress when there is a couple with different preferences. They create unique characteristics for each half or side of the mattress. This addresses the requirements of a couple that has various sleeping patterns, postures and choices or needs.
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Nectar bed mattress is gentle yet firm, it has a combined cover of cotton and tencel, the thickness is eleven inches and it weighs anywhere from 45 lbs to 89 pounds depending on the size. Nectar uses a layer of 1 inch gel memory foam, the second layer is 3 inch memory foam, the third layer is 1.75 inch memory foam and then a 5.25 inches support foam layer at the base. The tiniest size of Nectar mattress costs $500 and California King costs $900. There is free shipping and an entire year or 365 nights of trial. There is lifetime guarantee and you can quickly conserve more than $100 on every size. That is not the type of conserving you can get with Helix mattress discount coupon. Helix has just ten years service warranty, it is firmer and thinner, the cover is polyester and the weight varies from 40 lbs to 100 lbs. The rate is much higher from $600 to $1195. The trial period is for just a hundred nights.


The Bible says in Heb 11:6 – God is a rewarder of them that diligently seek him. Isaiah 45:9, Mal 3:17&18. Why would God reward anybody?
A. Soul Winning: God would reward people for their spiritual services. One of these services is turning others to Christ….the major reason (Dan 12:3). If you turn many to righteousness, go for evangelism is any places and turn people to righteousness, God will reward that person. May God help each one of us to be a soul winner in Jesus name. If you win souls to Christ, you are doing Spiritual Service.
B. Do Good to Other Christians: Any good deed done to a believer, the person would be rewarded by God. When you offer any service, deed, to a man or to a woman and you deliberately do all you can to offer him/her help, God would reward you (Matt 10:40-42). if you receive a prophet, you are entitle a prophet reward and if you receive a righteous man, you are entitle to a righteous man reward. Similarly, Jesus said if one of you receive a disciple of His, he/she will be entitle to a disciple reward.
Many people don't want to suffer, go through stress, persecution e.t.c. while carrying his/her cross (Matt 5:11-42). Persecution, many years ago is the in-thing. But today, because there's so much compromising, we have little or no persecution. Like in those days, when we were about taking their wives and the wife's family demand for alcohol, we stood our ground and say no to alcohol! (Matt 5:12). We can see all what Paul went through, he called it light affliction…(2Cor 4:1-18). Are you going through any affliction brother, it is very light. Don't compromise your faith. There are compromises here and there. Stand firm, believe God and let Him be sufficient for you. Refuse to compromise your faith and reward would follow it in Jesus name.
1. Rest from labour and suffering; The first reward God will give every man or woman that has served Him is REST. 2Thess 1:1-12. People that will not find rest are people who disobeyed God. May we not miss the glory of God. But the wicked shall be banish from His glory. If you are separated from the one who gives you breath, then there's no hope for that person. Note, this world is labour, everyone is labouring here and only God that can give rest. May we not miss the rest of God. The people who will not find arrest are people who do not obey Gods instruction, they shall be banish from glory of His power.
If you are not waiting on God, there won't be a crown. The crown is meant to be given to people that are waiting for him. Why are you following Christ? Is it money, a child, position etc? Just like Elisha, he refute everything and follow his master. If any man wants to follow Christ, let him first deny him/herself and take his cross and follow him.
The reward is going to be given and may God bring rest to your soul by giving you incorruptible, glorious, righteous and rejoicing crown in Jesus name.


Hi, I found this listing on Realty Executives and would like to learn more about Tbd East Sumner , Hot Sulphur Springs CO 80451 US. Thank you.
Tbd East Sumner Large corner lot in Himebaughs that would make the perfect home setting! Awesome views of the bluffs and surrounding mountains close to Colorado river, Hot Springs and public land for endless outdoor recreation.
Copyright © 2019 Grand County Board of REALTORS®. All rights reserved. All information provided by the listing agent/broker is deemed reliable but is not guaranteed and should be independently verified.


Many customers choose to build prototype parts for a new project or to improve current products. Building parts by this method can then provide critical information regarding fit, form and function during testing. Once tested, modifications can easily be made, new parts produced and then retested. This process can be very cost effective compared to building a tool to produce the part and then finding that the part does not perform as first anticipated.
Others find they can take a production part, make modifications to it, and gain the required results. We can help get you from concept to production.
With the technology we have at your disposal, we have the ability to reconstruct a new part either from a worn-out one or one that has been severely damaged. We are capable of reconstructing a new part by documenting dimensions gathered from the remaining structure, gathering information from the mating part or assembly, and using past experience to help rebuild the part. We are asked to remake parts frequently and have been very successful. At times it takes many hours to do so, but if the part is irreplaceable, this may be the only solution.
CNC Programming and MachiningIn today's industrial market, speed is a critical factor to the success of the product. Several elements are needed to perform this task. Good conceptual ideas, good tooling, good equipment experienced operators, and the ability to bring them all together to build a quality part. The utilization of a good CAM system is an essential part of this mix. We use EDGE CAM software to generate the tool path.
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text:
Jorgelina Rimoldi (n. 1971) es una exjugadora argentina de hockey sobre césped. Fue Campeona Panamericana Juvenil en 1992. Obtuvo tres medallas de oro en los Juegos Panamericanos de 1991, 1995 y 1999, medalla de plata en los Juegos Olímpicos de Sídney 2000 y fue subcampeona mundial en el Campeonato Mundial de Hockey sobre Césped de 1994 en Dublín. En 2001, obtuvo el Champions Trophy. En 2002, fue desafectada de Las Leonas por el técnico Sergio Vigil. Con posterioridad, Jorgelina se ha desempeñado para la Secretaría de Deportes de la Nación, difundiendo el hockey por el país.

Biografía
Se inició en el Club Banco Nación, debutando en primera división a los 15 años. En 1991, fue convocada a la selección mayor, ganando ese mismo año la medalla de oro en los Juegos Panamericanos de 1991. En 1992, fue campeona panamericana júnior en Venezuela. En 1994, fue subcampeona mundial en el Campeonato Mundial de Hockey sobre Césped de 1994 en Dublín, donde Argentina fue la sorpresa. En 1995, ganó su segunda medalla de oro panamericana.

En 1996, integró el equipo de Las Leonas que participó en los Juegos Olímpicos de Atlanta, donde el equipo finalizó 7.º obteniendo diploma olímpico. En 1999 ganó la tercera medalla de oro en los Juegos Panamericanos de Winnipeg.

En 2000, volvió a integrar la delegación olímpica, esta vez en los Juegos Olímpicos de Sídney, obteniendo la medalla de plata. Ese año recibió, junto a Las Leonas, el Premio Olimpia de Oro, como las mejores deportistas argentinas del año.

En 2001, ganó el Champions Trophy disputado en Holanda. En 2002, con 31 años, fue desafectada de Las Leonas por el técnico Sergio Vigil. Con posterioridad, Rimoldi se ha desempeñado para la Secretaría de Deportes de la Nación, difundiendo el hockey por el país.

Véase también
Hockey sobre césped
Las Leonas
Argentina en los Juegos Olímpicos de Atlanta 1996
Argentina en los Juegos Olímpicos de Sídney 2000

Fuentes

Referencias

Enlaces externos
"Jorgelina Rimoldi", Sports Reference.
"Los personajes: Anabel Gambero y Jorgelina Rimoldi. Leonas para siempre", Clarín, 27 de febrero de 2003.
"Anabel Gambero", Las Leonas.
"Historias de vida: «intenté dejar el hóckey, pero no pude». Jorgelina Rimoldi", Periodismo deportivo.

Las Leonas
Medallistas olímpicos de plata de Argentina
Medallistas olímpicos de plata de Sídney 2000
Premios Olimpia
Deportistas de Argentina en los Juegos Olímpicos de Sídney 2000


text:
Q: VueJS app is blank when I open it on the browser, there are no errors so what's the problem? I just started building an app with Vue.js and everything is fine but in the browser the page is completely blank. In the terminal it says there is no error. After doing some online research I created a vue.config.js to try and fix the configuration that didn't work. Please help.
App.vue
<template>
  <div id="nav">
    <router-link to="/">Home</router-link> |
    <router-link to="/about">About</router-link>
    <router-link to="/login">Login</router-link>
    <router-link to="/secret">Secret</router-link>
    <router-link to="/secret">Register</router-link>
  </div>
  <router-view/>
</template>

<style lang="scss">
#app {
  font-family: Avenir, Helvetica, Arial, sans-serif;
  -webkit-font-smoothing: antialiased;
  -moz-osx-font-smoothing: grayscale;
  text-align: center;
  color: #2c3e50;
}

#nav {
  padding: 30px;

  a {
    font-weight: bold;
    color: #2c3e50;

    &.router-link-exact-active {
      color: #42b983;
    }
  }
}

I have a feeling it might be something here with the router.
router/index.js
import { createRouter, createWebHistory } from 'vue-router'
import Home from '../views/Home.vue'
import Secret from '../views/Secret.vue'
import Login from '../views/Login.vue'
import Register from '../views/Register.vue'
import About from '../views/About.vue'

const routes = [
  {
    path: '/',
    name: 'Home',
    component: Home
  },
  {
    path: '/login',
    name: 'login',
    component: Login
  },
  {
    path: '/about',
    name: 'about',
    component: About
  },
  {
    path: '/register',
    name: 'register',
    component: Register
  },
  {
    path: '/secret',
    name: 'secret',
    component: Secret
  },
  {
    path: '/about',
    name: 'About',
    // route level code-splitting
    // this generates a separate chunk (about.[hash].js) for this route
    // which is lazy-loaded when the route is visited.
    component: () => import(/* webpackChunkName: "about" */ '../views/About.vue')
  }
]

const router = createRouter({
  history: createWebHistory(process.env.BASE_URL),
  routes
})

export default router

babel.config.js:
module.exports = {
  presets: [
    '@vue/cli-plugin-babel/preset'
  ]
}

vue.config.js
module.exports = {
    publicPath: process.env.NODE_ENV === 'production'
      ? '/docs/1.0/'  // This is whatever your path from the root is
      : '/'
  }

It seems I'm not the only one who's had this problem before. But I still can't find the proper solution for it on the internet.

A: Cannot set property '$axios' of undefined at eval

This is clearly an error with the way you are using Axios, which is a library that makes API requests, you need to check in your code where Axios is being used, as that is where the error is.
There is a dollar sign ($) before the name Axios in the error that was returned by your application, try removing the $ from the name 'axios' to see if it works.
Anything puts the link to your code on github so we can help you debug the error, but it's sure to search your code for 'axios' and you'll find the error.


A collection of poems to sooth your passage of life.
These sonnets and poems are created to stimulate the senses and enhance a feeling of happiness.
The sonnet, a creation of thirteenth-century Italy, has stayed with us for centuries and is refreshing now as when they attracted a major revival in sixteenth-century Europe.
Sonnets are written by lovers for lovers and continue to express their different moods, feelings and expressions.
The interpretation of each reader gives each poem a special life. The poet in me hopes you find this collection of sonnets and poems reflective, amusing and fulfilling.
Thompson Lennox's poetic side appears to come from the quiet romantic space of his mind that is left unchallenged by the hectic multitasking life he leads. He is, when the creative juices are in motion, often seen as a quiet cerebral recluse.
Solitude brings out Thompson Lennox's inspiration. It allows him to be a mindful onsite observer of the topics he covers. Romantic poems dominate his collection but he also finds time to reflect and write about the hard side of life, the challenges to staying alive. Lately, he has taken to writing lyrics as a way of expressing the emotion of love and human understanding.
Thompson Lennox very rarely presents his works. He much prefers to see the unexpected reaction of those who read his poems. He is convinced that as a presenting poet he would not bring the same level of interpretation to an audience of even one. The inspirational beauty of poetry is personal to the reader, hence his refusal to invade that initial experience. If love is my life never let me see the white light. The practical romantic inspirational side of the man.
This app is distributed by Arrow Publications, LLC and powered by A2Digital.net.


text:
ESPN: Auburn Had Big Synthetic Pot Problem [Updated]
The Worldwide Leader has a new report about alleged widespread drug usage in the program.
By David Wunderlich Apr 4, 2013, 6:53pm EDT
Share All sharing options for: ESPN: Auburn Had Big Synthetic Pot Problem [Updated]
John David Mercer-US PRESSWIRE
ESPN has a new report out claiming that there was a widespread synthetic marijuana problem at Auburn under Gene Chizik across 2010-11:
The 2010 national champion Auburn Tigers were gripped by an epidemic of synthetic marijuana use that led to a rash of failed drug tests and a decision at the highest levels of the university to keep the results confidential, ESPN has learned.
A six-month investigation by ESPN The Magazine and E:60 into the spread of synthetic marijuana at Auburn reveals that a dozen students on the football team, including its star running back, Michael Dyer, failed tests for the designer drug. The investigation also found that because the school did not implement testing for the drug until after it won the national championship in January 2011, as many as a dozen other seniors who used synthetic marijuana were never caught.
[Note: a longer, more detailed version is here.]
The star witness here is Dakota Mosley, who claims he failed seven consecutive tests for it shortly before allegedly being involved in the armed robbery that has put former teammate Antonio Goodwin in prison. It is the same incident involving Mike McNeil, who has unloaded some accusations of his own against the school this week. Goodwin claimed from jail that half the team used "spice", the street name for synthetic pot.
The NCAA ban on synthetic marijuana didn't go into effect until August of 2011, however the state of Alabama made it illegal in May of 2010. (Update: this article contradicts, saying it wasn't illegal until October 2011. Can anyone clarify here?) I can't think of one good reason why the school should not have notified parents or guardians about all of the failed tests, given that the substance is illegal in the state. The excuse, per AD Jay Jacobs:
"We did all we could do to educate our student-athletes until [we] could understand exactly what we're dealing with," Jacobs told The Magazine. "I think just like the rest of the campus, and the nation, we were trying to figure it out."
I am only aware of one other incident involving SEC teams and synthetic pot. In the fall of 2011, LSU suspended three players for synthetic pot use. Current head coach Gus Malzahn was on the Auburn staff as an assistant during this reported time of rampant synthetic pot usage.
Update, 9:15 pm ET, revised 10:50 pm
Auburn has addressed one concern:
Auburn says since it began testing for synthetic marijuana as banned substance, only 3 positive tests out of more than 2,500
— Brett McMurphy (@McMurphyESPN) April 5, 2013
According to a statement by Auburn's Jacobs, the school began testing for synthetic marijuana in January 2011, added it to the drug testing policy in March 2011, and began implementing penalties for it in August 2011. The full statement can be found here.
Jacobs' statement says that Auburn requested that the drug testing company it uses deliver a test for spice in September of 2010. It says no such test existed at the time, so the school and the company worked together to create one. It also states that the school did, in fact, contact the parents who say they weren't contacted about the failed tests.
Two parents who wished to remain anonymous told Auburn's Rivals.com affiliate that they had been notified of failed tests during the time ESPN reports that no parents had been notified.
Here is Shaun Assael, the author of the ESPN piece, talking about it.
His beef seems to be that Auburn had a zone of several months between when it decided that spice might be a problem and when it actually began testing for it. Auburn's side is that its contracted company that does its drug tests didn't have a test available until January of 2011; Assael reports that a different company had such a test available as of July, 2010. The implication is that if Auburn was so serious about eradicating spice, it would have gone to this other company to get its test instead of waiting.
He seems to believe that spice led to the personal downfall of some number of players, including Mosley, Goodwin, Kitchens, and Michael Dyer. He also seems to think that the school's initial lack of testing (fall of 2010 through late January 2011) and later lack of punishments for failed tests (late January through July 2011) makes the school to some degree negligent at best and complicit at worst in these players' personal downfalls. That's the best I can make of the case he's presenting.


Collect a daily reward after playing Galaxy Legion for over 5 years and reaching at least Rank 1000.
Note: based on a last years medal info, Sooz should have this in about 17 days; I believe she is the longest playing, still active player.
Omnispectral Lens: Reveals the location of a rare, unoccupied prismatic planet.
Any clue as to what it does? (guessing scan buff) or do we have to wait and see?
Wings of Valmar Rank 1611 Ship Size 7915 and counting !
As far as I know, Soozerama will be the first to get it. Very soon after GL's birthday in February.
I'm going to guess a 10% buff to scan and also an ability that purges a quantity of planets (non-flagged) from your database with a 20hr cooldown.
name would imply seeing all light, so that would strongly suggest it's scanning related. My shot in the dark, cooldown timer ability that lets you auto scan either an elite npc or rare planet type.
Whether planet or ship, I hope it is size zero. Also, if planet, I hope it is only usable on invincible but is extractable so you can use it at your leisure, not hold it until something better comes along!
Imagine if it lowered the cost of colonizations/invasions... that would be handy for 5-year old ships.
- you will see how the best build their planets and you will learn how to squeeze so much production from your planets that people will insist you must be cheating.
More than likely a planet module looking at the picture.
Maybe It gves the one thing you have been hoping for in this game in my case a natural Dyson FFS.
You're thinking of the Mirror of Erised.
I hope its a ship module that shows location of far away maxed out toxic planet on one month cooldown timer.


Blandin Foundation announced November 14th, 2012 at its annual broadband conference in Duluth that Mille Lacs County was successful in its application to become a Blandin Broadband Community, one of only nine selected in the state.
The Blandin Broadband Communities program is an intensive, two-year partnership between Blandin Foundation and selected rural Minnesota communities. The program provides planning and organizing support to regions that demonstrate readiness and resources to either bring robust broadband adoption to communities without it, or assist already connected communities make best use of information and services broadband can deliver.
On January 20, 2014, The Blandin Foundation announced that it had awarded 32 grants totaling $472,930 that assist rural Minnesota communities in advancing high-speed Internet access and use in their communities. Mille Lacs County will benefit from six of these grants.


North Korea's ambassador to the UK has said his country is "not afraid" to continue its missile and nuclear weapons activity, and that Pyongyang intends to conduct its sixth nuclear test as soon as the leadership deems it necessary.
Choe Il said that United Nations sanctions, international calls for denuclearization and the US' aggressive posturing won't deter the North from persisting with its nuclear and ballistic missile program, telling Sky News, "In regards to the sixth nuclear test, I do not know the scheduled time for it, as I am here in the UK, not in my home country … However, I can say that the nuclear test will be conducted at the place and time as decided by our supreme leader, Kim Jong-un."
In his first televised interview as ambassador, Choe said that the Democratic People's Republic of Korea (DPRK) was unmoved by US President Trump's threats of military action, stating that, "If we were afraid of it, we probably would not have started conducting nuclear tests or launching ballistic missiles."
"We are developing our nuclear strength to respond to that kind of attack by the US. If the US attacks us, our military and people are fully ready to respond to any kind of attack."
As a US Navy carrier strike group led by the USS Carl Vinson sits near the Korean Peninsula, accompanied by the nuclear-powered tomahawk-missile-equipped USS Michigan submarine, Choe said Pyongyang would reduce Washington's defenses "to ashes" if the US dared to launch a preemptive strike.
He said, "The US cannot attack us first … If the US moves an inch, then we are ready to turn to ashes any available strategic assets of the US."
Choe affirmed the DPRK's right to develop nuclear power as a sovereign nation, suggesting that this activity is necessary given Washington's hostile behavior.
The US vessels are taking part in annual military exercises with South Korea, a set of drills that the North views as practice for invading their country.
The South's newly elected President Moon Jae-in, considered more liberal than his predecessor, the ousted Park Geun-hye, has said he wants to bring "integration, unity and harmony" to the country, even expressing willingness to visit the North and other players in the conflict if it helps facilitate peace.
During his Wednesday oath-taking ceremony, Moon remarked, "I am willing to go anywhere for the peace of the Korean Peninsula … If needed, I will fly immediately to Washington. I will go to Beijing and I will go to Tokyo. If the conditions shape up, I will go to Pyongyang."
The president also said he would "sincerely negotiate" with Washington over the controversial deployment of the Terminal High Altitude Area Defense system (THAAD) on South Korean soil.


text:
Q: How to sort float value with hyphen in descending order in grid using extjs4.1 I have a grid in my application. It contains the field value stock. I want to sort the field in descending order. The stock field contains a value with a positive float number and negative float value and hyphen value. I want to always display all hyphen values in last rows. Can anybody tell me how to do this?
e.g
**stock**              I want to sort in descending order

45.44                      56.56
56.56                      56.23
-                          45.44
43.25                      43.25
-23                         -23
-                            -
56.23                        -

Thanks

A: This is not the natural order. In natural order hyphens ( representing the value zero ) should come between positive and negative values.
To achieve such custom orders, ExtJs allows you to define a sorting function. In your store, you would define someting like :
sorters: [{
    sorterFn: function(value1, value2){
        if (value1 === value2) {
            return 0;
        }
        if (value1 == '-') return -1;
        if (value2 == '-') return 1;
        return parseFloat(value1) < parseFloat(value2) ? -1 : 1;
    }
}]


text:
Star Wars: Squadrons now has the B-Wing and TIE Defender
Back in early October, EA released a statement suggesting that Star Wars: Squadrons won't be getting any new content post-release, stating that it didn't want to 'dribble out' new content for the game - but that all changed unexpectedly 3 weeks ago, with confirmation that new content drops were now coming.
Te first of these has now landed, and adds two brand new ships, the New Republic B-Wing, and the Imperial TIE Interceptor, to the roster of ships. They're alternatives to the Y-Wing and TIE Defender and will use the same customisation parts, but still, they look awesome.
The update is also bringing custom games and a new server browser, which will let you host custom private games, just like the good old days. GameFront Server, anyone?


text:
Belize.com
Belize Country Profile
Public & Bank Holidays
Border With Guatemala
Border With Mexico
Ambergris Caye
Cayo District
Corozal
Orange Walk
Placencia Peninsula
Stann Creek
Top Ten Maya Sites
Great Belize Blue Hole
ATM Cave
Cave Tubing
Shark Ray Alley
Top Ten Things To Taste
Driving In Belize
Open A Bank Account
Get A Belize Passport
Live Or Retire In Belize
Belize Maps Page
Get Married In Belize
How To Buy Real Estate
Loans & Interest Rates
Top 10 All Inclusive Resorts
Top 10 Hotels & Resorts
Save Money Booking Hotel Rooms
Xunantunich Maya Site
Turneffe Atoll
Caracol Maya Site
Bocawina National Park
Barton Creek Cave
Climbing Victoria Peak
The John Canoe Festival
Jankunu Dancer prepares to enter the competition arena.
The Habinahan Wanaragua Jankunu Festival (also known as the John Canoe) is one of those undiscovered secrets of Belize that is at once spectacular, colorful and so embodying of local culture that it makes one feel it should be reserved only for locals – sort of like that special dish that is only shared with family or close friends at Christmas. The date, usually the last Sunday of the year following Christmas Day makes this almost a practical reality. Most folks, including visitors, are hung over or busy returning home from their holiday travels so it is mostly all Belizean, and residents of southern Belize at that, that attend this crowning Jankunu, encounter. The event has its roots in in Africa and Belize's experience with slavery from its days as a British colony.
Research shows that the Jankunu has its roots in male secret societies of West Africa, Poro and Egungun, source of the bulk of slaves uprooted by the British and forcibly transported to British Honduras to fuel their exploitation of the country's vast natural resources. The name itself is believed to derive from 'Njoku Ji', the name of a yam Alusi (deity) of the Igbo people, of which Okonko, an Igbo secret society parade wearing masks bearing striking resemblance to the Jankunu masquerades. Also known in English as the John Canoe dance, the art form links music, dance, mime and powerful sociocultural symbols in an exotic display of male supremacy on the dance floor. The Jankunu dance is exclusively for males who are the dancers and musicians on the African drums. Females are allowed as singers but that is the limit of their participation. The dance has been traditionally held on the slave off days of Christmas Night and New Year's day.
The Jankunu is part of the Creole and Garifuna cultures. The Creoles are direct descendants of British slaves. The Garifuna who were never enslaved and resisted British domination to the bitter end are a distinct ethnic group with their own language and culture. They have been the most successful at preserving and taking this cultural expression to where it is today. The Garifuna nation of Belize originates from an amalgamation of indigenous warriors from Brazil's Orinoco Basin and Central America, and ancestors from West Africa.
Garifuna drummers at John Canoe Festival
The Jankunu Festival originated at the scenic Y Not Island in North Dangriga Town, capital of the Stann Creek District. The island is on the north bank of the Stann Creek River surrounded on two sides by beautiful white sandy beach and on the other by a canal that runs out to the sea. Since 2013, the festival has changed venue to the Ecumenical High School auditorium at the entrance to Dangriga. The event is more commercialized now and entrance fees as at December 2014 are $10. for bleachers and $15. for "Reserved". Come very early if you want anything near the front as the reserved section merely means chairs that stretch almost 200 feet to the rear. Showtime is 3 p.m. but runs on Belize time, 4 p.m. is when things actually get underway.
The festival is actually a competition between the senior Jankunu groups in southern Belize – but the traditional rivalry is between two powerhouses – Dangriga and the village of Seine Bight. Although a village, Seine Bighters take their Jankunu seriously and it is a matter of pride that they are the perennial champions.
The smallest Jankunu Dancer in Belize steps into the limelight and wows the ladies.
The costumes are colorful and gorgeous to an extreme. Pants are dark colored and the shirts white or light colored adorned with cross ribbons reminiscent of the cross gun belts of British military uniforms. All dancers wear pink masks, and this is believed to have been a way for the dancers to mock the British slave masters. The entire head of each dancer is concealed in an African Arab Bedouin style wrap.
The head dress consists of a royal crown festooned with multi-colored rosettes offset by small round mirrors and gaily colored feathers. The dancers wear leggings with bands of hundreds of small sea shells. The shells shake and rattle to accent the call and thunder and call of the Primero and Segundo drums that blend with the almost hypnotic singing of the Garifuna women.
Competitors in the John Canoe Festival at Dangriga, Belize, do their walk in to the show at the Ecumenical Auditorium 2014.
Each group is allowed 10 minutes to do their thing. The drummers enter first, followed by the dancers with the women bringing up the rear. Practice and discipline is evident as the drummers quickly take up position, the women behind them, and the dancers line up facing the music. The Jankunu Chief does a preliminary short dance and approaches the drummers, twirls around and returns to his group and with body language indicates to a dancer to take the center stage and show his stuff.
Each dancer in turn does a dance that is an exhibition of male prowess on the dance floor. This dance is one of the most demanding I have seen and must be excruciating on the knees and ankles. There is not much hip movement – that is the provenance of the women in their own dance form but that is another story. The Jankunu is a satirical dance where individuals dress like English colonial slave masters with a pink face mask, and dance off-beat to a fast tempo drum 4/4 beat.
The Wanaragua is one of the few dances where the Primero (lead) drummer follows the dancer's movements, and not the dancer dancing to the beat of the drum. If you look keenly you can observe the Primero drummer watching intently the dancer's feet, while he drums in order to keep his rhythm. This inversion is against all normal dance practice where the dancer follows the tempo of the music and not the other way around. It is believed to be another subtle mocking of the slave master by doing the opposite of what should be done. The Segundo drummer keeps a basic rhythm going on bass and does not need to observe the dancers feet.
The Primero provides the intricate and fast pace that are necessary to follow the dancer who with hands outstretched and palms out travels as if on rapidly recoiling spring legs, almost levitating in a circular pattern to the drummers and around the arena before returning to his group. You may also enjoy this short video clip of the Jankunu Festival.
Belize.com is the first website established in Belize, 1995. As a pioneer Digital Media Company, we provide expert content and advice for locals, expats and tourists
© 2023 Belize.com Ltd. · Reproduction of any materials from the site is strictly forbidden · All Rights Reserved ·


text:
Q: Whats the difference in geolocation in Cordova/HTML 5 versus the Meteor geolocation package? Im trying to save a user's location when an action is done, so it wont be refreshed constantly. Also looking to do simple calculations with the stored values like distance, speed etc.
From my understanding:
Cordova/HTML 5 geolocation
 1. Can set position
 2. Asynchronous
 3. re-calibrates when a change is detected (needs watch function)
 4. Location fields - altitude, accuracy, heading fields also available
 5. Works on mobiles and html5 enabled sites (some glitches on ioS)
document.addEventListener("deviceready", onDeviceReady, false);

// device APIs are available
function onDeviceReady() {
    navigator.geolocation.getCurrentPosition(onSuccess, onError);
}
// onSuccess Geolocation
function onSuccess(position) {
    var element = document.getElementById('geolocation');
    element.innerHTML = 'Latitude: '+ position.coords.latitude + '
' +
                        'Longitude: '+ position.coords.longitude + '
';
}
// onError Callback receives a PositionError object
function onError(error) {
    alert('code: '    + error.code    + '\n' +
          'message: ' + error.message + '\n');
}
//To watch changes
var watchID = navigator.geolocation.watchPosition(onSuccess, onError, { timeout: 30000 });

mdg:geolocation
 1. No current options to set, presumable constantly reactive
 2. Easier to do calculations with the location data on the server side
 3. Works on mobile (not sure about web)
Application
Geolocation.currentLocation() //for getting current position
Geolocation.latLng() //returns object with lat and lng keys

Are there other points or differences to be aware of Would love to hear from people who have implemented either or both and have things to say/ advice.

A: Cordova Geolocation is very easy to use. Just use it.

Im trying to save a user's location when an action is done, so it wont be refreshed constantly. Also looking to do simple calculations with the stored values like distance, speed etc.

Cordova doesnt consume a lot when callbacking very often onSuccess. I used to return immediatly, if conditions were not satisfied (less than 10 seconds, less than 50meter, etc.).
Cordova calls onSuccess as soon as geoposition has changed. Cordova is just plugged to the device geolocation layer and Cordova listens to.
**If you really want to toggle geolocation-detection, start & stop Cordova geolocation with a watchID. ** (I find it useless. But can be useful when your app goes background)
/*start*/
var watchId = navigator.geolocation.watchPosition(geolocationSuccess,
                                                      [geolocationError],
                                                      [geolocationOptions]);

    /*stops*/
watchId=null;

http://cordova.apache.org/docs/fr/3.1.0/cordova_geolocation_geolocation.md.html


Social outreach organizations including the Women's Media Centre of Cambodia and Better Factories Cambodia have begun using Verboice to reach communities otherwise cut off by literacy or technological barriers – lack of mobile support of local dialects, for example. It has been used to give women and children on demand health information, to increase access to reproductive and sexual health services, and to monitor working conditions in garment factories.
A free and open source tool, Verboice allows organizations to create and run projects using voice so users can listen and record messages in their language or dialect. Since, as Verboice asserts, voice is the most inclusive means of communication, their tool allows organizations to expand the reach of humanitarian efforts through mobile technology. (Mobile penetration in Cambodia was at 86 percent in early 2012, and has continued to rise.) Verboice was introduced by InSTEDD (Innovative Support to Emergencies Diseases and Disasters) with funding from The Swedish Program for ICT in Developing Regions.
The International Labour Organization (ILO) and Better Factories Cambodia are working to improve working conditions in Cambodia's export garment factories. Through Verboice, the organizations connect directly with factory workers and educate them about their rights. Better Factories Cambodia set up a quiz in which factory workers can answer questions about salary, work safety and personal health. Marie Stopes International Cambodia has made Verboice part of their post abortion follow-up process, and also a way of education women about safer contraception options. The Open Institute and Women's Media Center in Cambodia have also created an information telephone hotline for on demand health information. Verboice even has a Youtube video with instructions on how to create a health tips hotline.
This technology is still in an experimental phase – the Open Institute and Women's Media Center project began in August 2012 – but so far, for its simplicity and accessibility, Verboice looks promising. It's nice to see an interactive voice response system used for humanitarian purposes rather than questionable customer care at your credit card company.


text:
Home Forums > Fastpitch Softball Forum > Softball College Athletics Discussions > College Softball Regional News >
[Softball] Lady Warriors Take Two from Golden Eagles, 10-0 and 5-1
Discussion in 'College Softball Regional News' started by Chaz Hill, Aug 9, 2019.
ROCHESTER HILLS, Mich.—The Rochester College softball team swept the weekend with two wins over the Golden Eagles of Kent State-Tuscarawas. RC won game one with a final score of 10-0 in five innings, and then won game two of the double header with a final score of 5-1.
Game one was controlled by the Lady Warriors from the first inning as they jumped out to an early 1-0 lead after junior Chander Hill (Imlay City, Mich./Macomb CC) got the offense started with a triple to the centerfield fence. Hill was then knocked in on an RBI single from Jenna Dominek (Armada, Mich./Macomb CC).
RC was able to push across four more in the second, one in the third, and four in the fourth. The Warriors were led by Brooke Snyder (Wallis, Mich./Ypsilanti Lincoln HS), who went 2 for 2 at the plate with a walk and 3 RBI's. Hill and Dominek both ended game one with 2 RBI's each. Kelcie Juhas (Midland, Mich./Macomb CC) and Natalie Rosenau (Keego Harbor, Mich./West Bloomfield HS) added three hits each with an RBI.
Rosenau threw a complete game shutout only allowing 6 hits. She struck out 2 Golden Eagles and did not give up a single walk.
The Lady Warriors picked up in game two right where they left off on both the offensive and defensive side of the ball. Rochester scored 2 runs in the first and 2 more in the second inning. The Golden Eagles were able to find a way to score one in the fourth.
Dominek led the way for the Warriors offensively with a solid 3 for 4 game with 2 RBI's and 2 runs scored. Hill and Skye Donaldson (Oxford, Mich./Oxford HS) each collected 2 hits.
Snyder earned the win inside the circle for the Warriors, pitching a complete game while only allowing 1 run, 8 hits, 1 walk and added 2 strikeouts.
The Lady Warriors will play today on the road against Lourdes University in a non-conference doubleheader. First pitch of game one is set for 4pm.


Does technology motivate you to keep fit? Well using this app certainly does. It records all my runs, walks, bike rides etc and lets me know how far and how fast I've gone and become.
Emptying my brain into this help me to record, organise and more importantly – do everything that I feel is important to me. True GTD skills can be applied digitally here from anywhere I am in the world.
All my files accessible from anywhere and secure if my computer or their server goes down.
Over complicate and forget all the passwords I'll ever use behind one single secure password, that opens all my sites instantly.
My daily journalling / diary keeping each evening sent to here by email with a photo, safe and secure.
Keeping track of all my time/date related appointment / tasks.
Helping me get to inbox zero every day by archiving (not deleting) any email that I might one day have to refer to again.
Goodbye Word, Powerpoint and Excel (the only reason I didn't move to an apple mac for the past 10 years). Anything that's sent to me in those formats, I can open here. Does the same as those programs, but without any computer slowing expensive software from Microsoft Accessible from anywhere, even on my tablet and smartphone and can be shared with others for live collaboration.


text:
Q: Proper way to express 0 in this case? If 0=(x-a)(x-b)(x-c)...(x-x)..=0. So it's a product sum that we write with pi instead of sigma but how? There should be indexes but I'm not convinced that I understand what notation to use.
$$\prod_{ z=a }^{ y }{\left(x-z\right)} = 0$$
I don't think the expression above is correct but it's my attempt to illustrate the 0. I'm not trying to solve a specific problem. I want to learn how to formalize it if you can tell how.

A: You could try defining a family like:
$$
\mathcal F = \{a, b, c, \ldots, x, \ldots, z\}
$$
and then doing:
$$
\prod_{\alpha \in \mathcal F} (x - \alpha) = 0
$$

A: Seems like you're using $x$ in multiple ways. Integer subscripts are a wonderful way of avoiding this.
I think the statement you want is $0 = (x-a_1) (x- a_2) \ldots (x- a_n)$,  which can also be written as $\prod_{i=1}^n (x-a_i) = 0$.