text:
Q: Finding irreducible representations This might be a very elementary question in representation theory, but I dare to ask
Suppose I am asked to complete the character table of $S_5$, I know it has 7 conjugacy classes as follows :
$\Gamma_1=\{\phi\}, \ \ \Gamma_2=\{(12)\}, \ \ \Gamma_3=\{(123)\}, \ \ \Gamma_4=\{(1234)\}, \ \ \Gamma_5=\{(12345)\}, \ \ \Gamma_6=\{(12)(34)\}, \ \ \Gamma_7=\{(12)(345)\}$
Where $\Gamma_1$ has $1$ element,$\Gamma_2$ has $10$ elements,$\Gamma_3$ has $20$ elements,$\Gamma_4$ has $30$ elements,$\Gamma_5$ has $24$ elements,$\Gamma_6$ has $15$ elements and $\Gamma_7$ has $20$ elements, which add up to $5!=120$.
Therefore I have to find $7$ irreducible representations for $S_5$. The first two are not difficult to see , the "Trivial" and the "sign" representations which are both one-dimensional.
Now my question is at this point, how one tries to find the other five irreps ? is it a matter of wisdom and experience ? or there is some concrete pattern/relation that I have to find ?
How does one make sure that how many one dimensional irreps are to be found ? what about irreps of higher dimensions ?
I would be very thankful if somebody can help me understand these things.

A: The conjugacy classes you have provided correspond to partitions of $5$ by taking cycle types. The partitions of $5$ naturally index the irreducible representations of $S_5$. The irreducible representation of $S_5$ corresponding to a partition $\lambda$ is called the Specht module $S^{\lambda}$. These representations can be described explicitly. A reference is "Young Tableaux" by Fulton.
The characters of Specht modules are reasonably computable, at least for $S_5$. There is the Jacobi-Trudi formula expressing the Schur polynomial $s_{\lambda}$ in terms of the polynomials $h_{\mu}$. Using the isomorphism between the representation ring $R=\bigoplus_{n=1}^{\infty}R_n$ ($R_n$ being the representation ring of $S_n$) and the ring $\Lambda$ of symmetric functions, you obtain a corresponding formula for the character of $S^{\lambda}$.
For your other question, a one-dimensional representation $\varphi:G\rightarrow\mathbb{C}^*$ of a finite group $G$ always factors through the abelianization $G/[G,G]$ of $G$. (Here, $[G,G]$ is the commutator subgroup of $G$.) So, you can reduce to the case of finding all one-dimensional representations $\psi:G/[G,G]\rightarrow\mathbb{C}^*$. In your case, the commutator subgroup of $S_5$ is $A_5$, so that the abelianization is isomorphic to $\mathbb{Z}_2$. The latter group has exactly two one-dimensional representations up to isomorphism.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Copy a hidden template and put after template sheet I have created my worksheet with a template sheet. I also create a button to copy the template sheet and put any new created sheets after the template sheet.
Everything is still OK if the 'Template' is visible. When I hide the 'Template', only the latest created sheet is visible, other are auto hidden.

Could you please have a look at my script and advise me how to fix that? I want any new created sheet will be visible and put after the hidden template sheet.
Here is my script
Sub NewSheet()
    Dim newWS As Worksheet
    Dim TemplateWS As Worksheet
    Dim newWSName As String

Retry:
    newWSName = InputBox("Enter Activity name.", "New Sheet Name")
    If newWSName = "" Then Exit Sub

    For Each ws In Worksheets
        If ws.Name = newWSName Then
            MsgBox newWSName & " exist already. Pick another name.", vbExclamation, "Sheet Name Exists"
            GoTo Retry
        End If

    Next ws

    Set TemplateWS = Sheet7
    TemplateWS.Activate
    TemplateWS.Copy After:=ActiveWorkbook.Sheets("template 1")
    ActiveSheet.Name = newWSName
    Range("A1").Select
    ActiveCell.Hyperlinks.Add Anchor:=Selection, Address:="", SubAddress:="'Summary'!A1", TextToDisplay:="Click to Summary"
    ActiveSheet.Tab.ColorIndex = 19

End Sub

Thank you so much as always.

A: Normally a copied sheet becomes the active sheet but this doesn't happen if the copied sheet is hidden. Solution is to make template visible, copy and then hide.
Option Explicit

Sub NewSheet()

    Dim wsTemplate As Worksheet, ws As Worksheet
    Dim newWSName As String

Retry:
    newWSName = InputBox("Enter Activity name.", "New Sheet Name")
    If newWSName = "" Then Exit Sub

    For Each ws In ThisWorkbook.Sheets
        If ws.Name = newWSName Then
            MsgBox newWSName & " exist already. Pick another name.", vbExclamation, "Sheet Name Exists"
            GoTo Retry
        End If
    Next ws

    Set wsTemplate = Sheets("Template 1")
    wsTemplate.Visible = True
    wsTemplate.Copy After:=wsTemplate
    With ActiveSheet
        .Name = newWSName
        .Range("A1").Hyperlinks.Add Anchor:=.Range("A1"), Address:="", _
         SubAddress:="'Summary'!A1", _
         TextToDisplay:="Click to Summary"
        .Tab.ColorIndex = 19
    End With
    wsTemplate.Visible = False

End Sub


Silver taxi service provides all the needed facilities to the customers. Our service is affordable to every customer.
Planning to go on holiday by plane, or perhaps on family visit or for another reason abroad? Then you probably need to go to the airport to catch your flight. But how will you get there? Letting someone bring you or pick you up is not always possible and parking your own car at the airport is not a cheap solution.
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QuickCheck and SmallCheck are the two classical libraries for property testing in Haskell. There are newer developments, like SmartCheck and Hedgehog, but I haven't tried them much yet.
So here is my take on the comparative strengths and weaknesses of the current versions of QuickCheck and SmallCheck (2.11.3 and 1.1.4, respectively). Being the maintainer of SmallCheck, I am obviously somewhat biased towards it. But quite often I would prefer QuickCheck to SmallCheck for a specific task. It also sometimes happens that I think QuickCheck would work better in principle for a given task, but in practice SmallCheck is more convenient for that task — usually it has to do with generic instances or failure reporting. So here are the considerations I take into account when choosing between the two.
If you do not know much about QuickCheck and/or SmallCheck, the main difference between them is that QuickCheck generates random test cases, whereas SmallCheck enumerates test cases exhaustively up to some depth. Some (though not all) of the pros and cons come from this fundamental difference in paradigms.
With SmallCheck, the number of tests is usually exponential in their depth. Say, when enumerating trees (from Data.Tree), depth 5 gives you 189 tests in less then 0.01s, while depth 6 gives 6479 tests in 4s. If you only have the patience to run 1000 tests, you have to settle for 189. QuickCheck, on the other hand, allows you to set the exact number of tests independently from their depth (which is called size in QuickCheck).
which acts similarly to take for lists. It is still not as convenient as QuickCheck, because you have to apply it to each "big" generator as opposed to setting a single global limit on the number of tests, but you can use it to fight the exponential blowup.
SmallCheck has instances for floating-point numbers, e.g.
These are probably enough if you need to fill some fractional field in a data type, but the logic of your functions doesn't depend on the number in a complex way.
But if you are testing any truly numerical code (say, matrix operations or physics simulation), it is much more useful to have QuickCheck generate random floating-point numbers.
If you have a couple of types that rarely change, writing the instances by hand may not a big deal.
Often, especially when writing tests for commercial code, there is a big number of nested algebraic data types. And even if you have the patience to write the instances, they will become incomplete the next time a constructor is added to one of the types (and the compiler won't warn you).
So it is essential to be able to derive most of the instances. SmallCheck has had generic instances since 2011, thanks to the contribution from Bas van Dijk. QuickCheck still does not have them (github issue).
There is a separate package, generic-arbitrary, but it doesn't seem to support recursive data types. The recursive types also seem to be the reason why QuickCheck itself doesn't have the generic implementation.
This approach is not ideal (your size may get down to 0 too quickly), but IMO it is better than no generic instances at all.
Update (2018-07-05). There are some third-party packages that implement generic deriving for QuickCheck and support recursive types, in particular testing-feat and generic-random.
In both cases, genericShrink comes from the QuickCheck package itself, but it's not the default implementation for shrink; the default is shrink _ = .
By default, both SmallCheck and QuickCheck only tell you the generated values that led to the failure (i.e. x). But I would also like to know why the test failed — in this case, what reverse (reverse x) was.
There is a StackOverflow question about this with two answers, neither of which is perfect.
Because QuickCheck gives you the inputs to the function, and because the code under test is pure (it is, right?), you can just feed those inputs to the function and get the result. This is more flexible, because with those inputs you can also repeatedly test with tweaks to the original function until it's correct.
The code may not be pure by design — both SmallCheck and QuickCheck are capable of testing IO code.
The code may be intended to be pure, but the very bug you are trying to fix may lead to it being impure/non-deterministic.
Copy-pasting values may not be very convenient: think large matrices.
Also, strings produced by Show do not always map back to the original values effortlessly. E.g. Maps, Sets, and Vectors all result in fromList [...] when shown. If you have several of them in the same structure, you'll have to disambiguate those fromLists.
The other answer, by Paul Johnson, gives a working solution (using MkResult), but it is rather unwieldy, and you have to include the parameter values manually if you need them.
QuickCheck tends to produce complex counterexamples and then tries to shrink them to find simpler ones. While shrinking does lead to somewhat simpler examples, they are usually not minimal. Also, it's on you to implement the shrinking function for your own types (although there is genericShrink).
Because SmallCheck enumerates the values in order, from smaller to bigger, it automatically produces the minimal example.
Sometimes that's good: if you have a high- or infinite-dimensional space of possibilities, all you can hope for is to test on a few diverse samples from that space. But other times, that space is narrow, and it's better to test deterministically and exhaustively.


The field of geochemistry involves study of the chemical composition of the Earth and other planets, chemical processes and reactions that govern the composition of rocks and soils, and the cycles of matter and energy that transport the Earth's chemical components in time and space, and their interaction with the hydrosphere and the atmosphere.
Isotope geochemistry: Determination of the relative and absolute concentrations of the elements and their isotopes in the earth and on earth's surface.
Examination of the distribution and movements of elements in different parts of the earth (crust, mantle, hydrosphere etc.) and in minerals with the goal to determine the underlying system of distribution and movement.
Cosmochemistry: Analysis of the distribution of elements and their isotopes in the cosmos.
Biogeochemistry: Field of study focusing on the effect of life on the chemistry of the earth.
Organic geochemistry: A study of the role of processes and compounds that are derived from living or once-living organisms.
Regional, environmental and exploration geochemistry: Applications to environmental, hydrological and mineral exploration studies.
Victor Goldschmidt is considered by most to be the father of modern geochemistry and the ideas of the subject were formed by him in a series of publications from 1922 under the title 'Geochemische Verteilungsgesetze der Elemente'.
The more common rock constituents are nearly all oxides; chlorine, sulfur and fluorine are the only important exceptions to this and their total amount in any rock is usually much less than 1%. F. W. Clarke has calculated that a little more than 47% of the Earth's crust consists of oxygen. It occurs principally in combination as oxides, of which the chief are silica, alumina, iron oxides, and various carbonates (calcium carbonate, magnesium carbonate, sodium carbonate, and potassium carbonate). The silica functions principally as an acid, forming silicates, and all the commonest minerals of igneous rocks are of this nature. From a computation based on 1672 analyses of numerous kinds of rocks Clarke arrived at the following as the average percentage composition: SiO2=59.71, Al2O3=15.41, Fe2O3=2.63, FeO=3.52, MgO=4.36, CaO=4.90, Na2O=3.55, K2O=2.80, H2O=1.52, TiO2=0.60, P2O5=0.22, total 99.22%). All the other constituents occur only in very small quantities, usually much less than 1%.
These oxides combine in a haphazard way. For example, potash (potassium carbonate) and soda (sodium carbonate) combine to produce feldspars. In some cases they may take other forms, such as nepheline, leucite, and muscovite, but in the great majority of instances they are found as feldspar. Phosphoric acid with lime (calcium carbonate) forms apatite. Titanium dioxide with ferrous oxide gives rise to ilmenite. Part of the lime forms lime feldspar. Magnesium carbonate and iron oxides with silica crystallize as olivine or enstatite, or with alumina and lime form the complex ferro-magnesian silicates of which the pyroxenes, amphiboles, and biotites are the chief. Any excess of silica above what is required to neutralize the bases will separate out as quartz; excess of alumina crystallizes as corundum. These must be regarded only as general tendencies. It is possible, by rock analysis, to say approximately what minerals the rock contains, but there are numerous exceptions to any rule.
Hence we may say that except in acid or siliceous rocks containing 66% of silica and over, quartz will not be abundant. In basic rocks (containing 20% of silica or less) it is rare and accidental. If magnesia and iron be above the average while silica is low olivine may be expected; where silica is present in greater quantity over ferro-magnesian minerals, such as augite, hornblende, enstatite or biotite, occur rather than olivine. Unless potash is high and silica relatively low leucite will not be present, for leucite does not occur with free quartz. Nepheline, likewise, is usually found in rocks with much soda and comparatively little silica. With high alcalis soda-bearing pyroxenes and amphiboles may be present. The lower the percentage of silica and the alkalis the greater is the prevalence of t lime felspar as contracted with soda or potash felspar. Clarke has calculated the relative abundance of the principal rock-forming minerals with the following results: Apatite=0.6, titanium minerals=1.5, quartz=12.0, felspars=59.5, biotite=3.8, hornblende and pyroxene=16.8, total=94.2%. This, however, can only be a rough approximation.
The other determining factor, namely the physical conditions attending consolidation, plays on the whole a smaller part, yet is by no means negligible, as a few instances will prove. Certain minerals are practically confined to deep-seated intrusive rocks, e.g., microcline, muscovite, diallage. Leucite is very rare in plutonic masses; many minerals have special peculiarities in microscopic character according to whether they crystallized in depth or near the surface, e.g., hypersthene, orthoclase, quartz. There are some curious instances of rocks having the same chemical composition, but consisting of entirely different minerals, e.g., the hornblendite of Gran, in Norway, which contains only hornblende, has the same composition as some of the camptonites of the same locality that contain felspar and hornblende of a different variety. In this connection we may repeat what has been said above about the corrosion of porphyritic minerals in igneous rocks. In rhyolites and trachytes early crystals of hornblende and biotite may be found in great numbers partially converted into augite and magnetite. Hornblende and biotite were stable under the pressures and other conditions below the surface, but unstable at higher levels. In the ground-mass of these rocks augite is almost universally present. But the plutonic representatives of the same magma, granite and syenite contain biotite and hornblende far more commonly than augite.
Those rocks that contain the most silica and, on crystallizing yield free quartz, form a group generally designated the "acid" rocks. Those again that contain least silica and most magnesia and iron, so that quartz is absent while olivine is usually abundant, form the "basic" group. The "intermediate" rocks include those characterized by the general absence of both quartz and olivine. An important subdivision of these contains a very high percentage of alkalis, especially soda, and consequently has minerals such as nepheline and leucite not common in other rocks. It is often separated from the others as the "alkali" or "soda" rocks, and there is a corresponding series of basic rocks. Lastly a small sub-group rich in olivine and without felspar has been called the "ultrabasic" rocks. They have very low percentages of silica but much iron and magnesia.
Except these last, practically all rocks contain felspars or felspathoid minerals. In the acid rocks the common felspars are orthoclase, perthite, microcline, and oligoclase—all having much silica and alkalis. In the basic rocks labradorite, anorthite and bytownite prevail, being rich in lime and poor in silica, potash and soda. Augite is the commonest ferro-magnesian of the basic rocks, but biotite and hornblende are on the whole more frequent in the acid.
Rocks that contain leucite or nepheline, either partly or wholly replacing felspar, are not included in this table. They are essentially of intermediate or of basic character. We might in consequence regard them as varieties of syenite, diorite, gabbro, etc., in which felspathoid minerals occur, and indeed there are many transitions between syenites of ordinary type and nepheline — or leucite — syenite, and between gabbro or dolerite and theralite or essexite. But, as many minerals develop in these "alcali" rocks that are uncommon elsewhere, it is convenient in a purely formal classification like that outlined here to treat the whole assemblage as a distinct series.
This classification is based essentially on the mineralogical constitution of the igneous rocks. Any chemical distinctions between the different groups, though implied, are relegated to a subordinate position. It is admittedly artificial by it has grown up with the grown of the science and is still adopted as the basis on which more minute subdivisions are erected. The subdivisions are by no means of equal value. The syenites, for example, and the peridotites, are far less important than the granites, diorites and gabbros. Moreover, the effusive andesites do not always correspond to the plutonic diorites but partly also to the gabbros. As the different kinds of rock, regarded as aggregates of minerals, pass gradually into one another, transitional types are very common and are often so important as to receive special names. The quartz-syenites and nordmarkites may be interposed between granite and syenite, the tonalites and adamellites between granite and diorite, the monzoaites between syenite and diorite, norites and hyperites between diorite and gabbro, and so on..
Marshall, C., & Fairbridge, R. (2006). Encyclopedia of Geochemistry. ISBN 1-4020-4496-8. Berlin: Springer.
^ This article incorporates text from the article "Petrology" in the Encyclopædia Britannica, Eleventh Edition, a publication now in the public domain.


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text:
Ashwin Hanagudu
The Spanish league has never been short of amazing players. Right through the ages, some of the world's best players have graced La Liga and left their indelible mark on this competition.
From Laszlo Kubala and Alfredo Di Stefano in the 1950s to Lionel Messi and Cristiano Ronaldo in the present generation, La Liga has always been the league to watch for football fans all over the world.
Multiple Ballon d'Or winners, legendary strikers, record breakers, pioneering midfielders all played in this league and it is no easy task to pick the 10 best players from a pool of so many ridiculously talented footballers.
Without much ado, let us take a look at the 10 greatest La Liga players of all time:
Note: Players have been ranked based on their performances in La Liga only, number of La Ligas won and the impact they had on their respective teams.
#10 Raul Gonzalez
A prolific goalscorer and a highly creative forward, Raul is regarded as one of the greatest and most consistent strikers of his generation. Raul was a quick, left-footed player, who was capable of scoring both in and outside the penalty area with his accurate and powerful shot.
n addition to these characteristics, Raul is remembered for his leadership and discipline; throughout his extensive career, he never received a red card, and he was rarely booked. For his technical skills, elegance and performances, he was nicknamed "El Ferrari," or "The Ferrari," by Fernando Hierro.
Also read: Iker Casillas picks his all-time greatest Real Madrid XI
A true and loyal servant for the Los Blancos, Raul Gonzalez displayed amazing longevity at the top level and is still the most capped player in Real Madrid history having played 741 times (343 goals) for his childhood club.
During his amazing 16 year spell at Real Madrid, the legendary number 7 won an astonishing 6 La Liga titles along with numerous other trophies such as the Champions League and Copa del Rey. Raul holds a special place in the hearts of the Real Madrid supporters.
La Liga 2019-20 Real Madrid CF Football Barcelona Valencia CF Football Atletico Madrid Football RCD Espanyol Football Cristiano Ronaldo Lionel Messi Ronaldinho
Primera División 2019/2020
FT LEG GET
Leganés vs Getafe
FT LEV DEP
Levante vs Deportivo Alavés
FT REA SEV
FT OSA REA
FT EIB ATL
Eibar vs Atlético Madrid
FT MAL VAL
Mallorca vs Valencia
FT REA REA
FT VIL ESP
Villarreal vs Espanyol
FT ATH CEL
Athletic Club vs Celta Vigo
FT BAR GRA

redpajama_set_name: RedPajamaCommonCrawl


The hip-hop artist and actor Common turned out for one of the largest anti-violence demonstrations Newark has ever seen Saturday.
About 5,000 "Occupy" activists rallied at one of the Brick City's busiest intersections, Broad Street and Market Street, officials say.
This past spring, Common was dropped as commencement speaker at Kean University after an outcry from law enforcement over a song he wrote supporting Assata Shakur, whose real name is Joanne Chesimard. Chesimard is a fugitive living in Cuba who was convicted of killing a New Jersey state trooper.
The event occurred a day before the anniversary of the police-involved shooting of Michael Brown in Ferguson, Missouri. However, the focus was not on anti-police sentiment, participants said.
Newark Mayor Ras Baraka has previously attended "Occupy the Block" gatherings to listen to city residents.
"There's many times when I watched TV and felt discouraged about what's going on in my city," Baraka said. "Today is not that day."


text:
<?php

namespace Acme\FrontendBundle\Entity;

use Doctrine\ORM\EntityRepository;
use Snc\RedisBundle\Doctrine\Cache\RedisCache;
use Predis\Client;

/**
 * ArticleRepository
 *
 * This class was generated by the Doctrine ORM. Add your own custom
 * repository methods below.
 */
class ArticleRepository extends EntityRepository
{
    public function getArrArticleList($intCategory, $intLimit, $strOrderBy, $strOrderType, $cache_time = 0)
    {
        $query = $this->getEntityManager()
            ->createQuery(
                "SELECT a.id id,
                        a.strTitle title,
                        a.intCategory category,
                        a.strThumb thumb,
                        a.timeCreateTime time,
                        a.textSummary summary
                    FROM AcmeFrontendBundle:Article a
                    WHERE a.intCategory = {$intCategory}
                    ORDER BY a.{$strOrderBy} {$strOrderType}
                "
            )
            ->setMaxResults($intLimit);
        if($cache_time > 0) {
            $predis = new RedisCache();
            $predis->setRedis(new Client());
            $cache_lifetime = $cache_time;
            $query
                ->setResultCacheDriver($predis)
                ->setResultCacheLifetime($cache_lifetime);
        }
        return $query->getResult();
    }

    public function getQueryArticleList($intCategory, $strWhere = "", $cache_time = 0)
    {
        $query = $this->getEntityManager()
            ->createQuery(
            "
                SELECT a.id id,
                       a.strTitle title,
                       a.intCategory category,
                       a.strThumb thumb,
                       a.timeCreateTime time,
                       a.textSummary summary
                 FROM AcmeFrontendBundle:Article a
                WHERE a.intCategory = {$intCategory}
                {$strWhere}
                ORDER BY a.timeCreateTime DESC
            "
            );
        if($cache_time > 0) {
            $predis = new RedisCache();
            $predis->setRedis(new Client());
            $cache_lifetime = $cache_time;
            $query
                ->setResultCacheDriver($predis)
                ->setResultCacheLifetime($cache_lifetime);
        }
        return $query;
    }

}

redpajama_set_name: RedPajamaGithub


text:
Home » Studios » ITV studios in London » New Cross Empire
New Cross Empire
The New Cross Empire, around 1910.
ATV knew they would need two large theatres that they could convert into TV studios to use mostly for light entertainment shows. Fortunately variety shows were not as popular in theatres as they had been a few years earlier and there were several suitable buildings standing empty. They selected the Wood Green Empire and Hackney Empire but only had time to fully convert one of them into a studio ready for transmissions to begin in September 1955. Wood Green was the one they concentrated on first with Hackney becoming available in February 1956. In the meantime they carried out a very basic conversion of the New Cross Empire, which was serviced by an OB unit.
The New Cross Empire was one of many theatres designed by the great Frank Matcham. It opened in 1899 and seated 2,000 over stalls, 2 circles and a balcony. The proscenium width was 36ft and stage depth was 40ft. It was originally managed by Oswald Stoll, later by Moss Empires.
In the late 1940s the theatre was used by BBC radio for their Happidrome show. It closed as a variety theatre in July 1954.
ATV took over the theatre in 1955 and it was used on the opening night of ITV for the show People Are Funny. It was very likely the home of several other TV shows too for the 6 months until the Hackney Empire was available as a studio.
Interestingly, the New Cross Empire was also used as a film location more than once. In 1955 it became an opera house for the film King's Rhapsody, starring Errol Flynn and Anna Neagle. One assumes this was before ATV took over the theatre. In 1956 it was a location for two films – The Long Arm, starring Jack Hawkins and Charlie Moon, with Max Bygraves. The latter film apparently has many scenes shot in the auditorium and on stage.
The theatre was demolished in July 1958 and very sadly simply became a petrol filling station. Apparently the site is now a car wash.
Many thanks to Ken Levon for bringing ATV's use of this theatre to my attention.
PreviousWood Green Empire (ATV)
NextHackney Empire (ATV)
ITV history 1955-1968
The Viking Studio
The Granville Theatre
Television House
Wembley Studios (Rediffusion)
Teddington (early film days, ABC, Thames)
Wood Green Empire (ATV)
Hackney Empire (ATV)
Highbury Studios (High Definition Films, ATV)
Elstree - ATV & BBC
Foley Street
Chelsea Palace (Granada)
Wembley (LWT)
The London Studios (LWT)
Wycombe Road (Intertel, LWT)
Wembley (Lee, Limehouse, Fountain)
Euston Road (Thames)
New London Theatre
Royalty Theatre
ITN - Wells St and Gray's Inn Road
Camden (TV-am)
ITV history 1993-present (inc MTV)
Teddington (Pearson, Barnes Trust, Pinewood)


On 17 April 2019, a workshop on the topic "Initiating cooperation in the field of statistical metadata" was held at the State Statistical Office with the other national authorities that are part of the National Statistical System.
The workshop is part of the activities under the metadata pilot project, funded by the IPA 2015 Multi-Beneficiary Statistical Cooperation Programme.
The SSO experts shared with the workshop participants their knowledge of the basic quality framework, the metadata system, the SIMS structure of the metadata system with examples of how to complete it.
Launch of the project "Development of dedicated software and database for economic statistics"
"The Challenges of Official Statistics in the Light of the Recommendations of the European Partners - Evaluation of the Macedonian Statistical System".
Memorandum of Cooperation with "Finance Think"
European Statistics Day "Better Data. Better Life"
Art contest "World in Figures"
World Health Day - "Beat Diabetes"
Тhe State Statistical Office published the last issue of "Short-term statistics on economic developments in the Republic of Macedonia"
"Statistical system of the Republic of Macedonia - achievements and challenges"
Visit of experts of the SEA Twinning Project "Further strengthening of the organisational and institutional capacities for the EU integration process"
Guests from the Faculty of Economics, University "St. Cyril and Methodius"


Challenges? Check. Causes? Check. Solutions?
Alan Portner with Examiner.com, a former newspaper publisher and editor, regularly writes about the news media dilemma. Here are good briefs on the current challenges and how we got here.
o A BBC model which taxes citizens for the gathering of news.
o A PBS model with semi-annual voluntary fund drives.
o Newspapers should become non-profits…deliberately.
o Government should support the gathering of news.
o A new 501C3 type hybrid called a L3C (backed by the Newspaper Guild) will earn low profits and still accept donations.
o Some current owners picture individualized news products for every reader.
The future is limited only by our ability to imagine it. But for now… the future is still a little cloudy.


This software offers a solution to users who want to merge two tables up and down. The two tables must have the same number and types of columns but the number of rows can be different. One Access table with the other in vertical direction. The tables can be located in one Access file or two different Access files. Access 2000 or higher required.


text:
State of the Culture, II: From Post-Internet Art to Influencer Art to… Mystery Art
Looking back on the evolving artistic landscape of 2017, Ben Davis reflects on the mutations the role of the artist has undergone lately.
Ben Davis, December 28, 2017
Taylor (Elizabeth Olsen) and Ingrid (Aubrey Plaza) pose for a photo in Ingrid Goes West (2017).
In part one of this look back on the year, I talked about the evolving status of museums in the era of social media, changing audience habits, and the rise of Big Fun Art. Here, I'll shift focus to how 2017 impacted the artists who help shape the discourse.
An Art-Social Media Romance
Matt Spicer's film Ingrid Goes West will stand as a time capsule of the balance of cultural forces in 2017. It tells the story of sad-sack Instagram stalker Ingrid (Aubrey Plaza) and her obsession with fauxhemian LA lifestyle influencer Taylor (Elizabeth Olsen). Taylor's husband Ezra (Wyatt Russell) is an artist who makes awful (but credible) social-media-inspired paintings: found canvasses with meme-ish slogans scrawled on them, including a herd of galloping stallions superimposed with the word "SQUADGOALS."
What's interesting is the complementary relationship between the Ezra-Taylor couple's creative personae. Taylor, it is revealed, isn't genuinely into the intellectual props that she studs her Instagram life with: Joan Didion, Norman Mailer, etc. Those, we learn, are Ezra's tastes. She has simply appropriated them for their hipster cachet.
Ingrid (Aubrey Plaza) in Ingrid Goes West.
Ezra, on the other hand, is a social media abstainer—and yet his comically shallow art is completely under its sign. His first collector (Ingrid, of course) even comes via Taylor's social media following. As personalities, the pair are symbiotic but in tension, with the influencer definitely in ascendance over the studio artist who, the film strongly implies, only maintains his critical posture as a defense mechanism to salve his feeling of being a hack to begin with.
The dynamics channelled by this artist-influencer couple are shaped by old gender stereotypes: "men act, women appear." But the social standing of these terms in relation to one another has shifted. Taylor absorbs the outward signs of Ezra's more traditionally "deep" aesthetic interests; but he gets everything, including link to an audience and even subject matter, from her.
Does this power rebalancing represent a kind of progress? Maybe—though overall, Ingrid Goes West is a parable of the creeping emptiness, destructive envy, and deformed incentives that this environment places on all involved—its female protagonist first of all.
Into the Continuum
Artists tend to have a lot of their self-identity wrapped up in being better than, wiser than, deeper than the ambient culture. And that means they can miss just how profound the experiences a wider audience is having outside their bubble.
Back in the 1960s, while Beatles fans were vilifying Yoko Ono, her New York art-world friends were doubting whether John Lennon was a worthy match for her, a tidbit that now seems crazy given that Lennon and his musical peers are treated as cultural gods. "Yoko was a very important Fluxus artist," Carolee Schneeman remembered. "And frankly, we all wondered if this… this… rock and roll guy was going to be smart enough for her."
Singer and songwriter John Lennon with Yoko Ono, signing copies of her conceptual art book Grapefruit at Selfridges, London, 15th July 1971. Photo by Jack Kay/Daily Express/Getty Images.
Maybe the nose-in-the-air posture is a dated stereotype in a multimedia-fluent contemporary art world—though Ingrid Goes West caricatures it in Ezra's pantomime of authenticity, which suggests otherwise.
The curator and critic Lawrence Alloway is often credited with coining the term Pop Art in the 1950s. The most interesting aspect of his thinking, however, is that he didn't speak about "Pop" as a style of fine art. What he actually wrote about was what he called the "fine art-pop art continuum."
That is, for Alloway, the point was that the world of pop culture and design and merchandise was itself already creative; you couldn't create a hierarchy with "art" at the apex. It was a continuum, and a horizontal one. John on the same level as Yoko, plus all the John-Yoko stuff in between.
I think it might be useful to imagine a "fine art-social media continuum" along the same lines.
#Masterpieces, Lonely and Not-So-Lonely
When, earlier this year, Cindy Sherman caused a stir by unlocking her Instagram to the public, the images were cool enough—but not really revelatory for their context, to my eyes. The viral excitement around them, it seemed to me, was really more that Sherman's presence redeemed a general interest in the aesthetics of Instagram.
Still from Amalia Ulman's "Excellences & Perfections" courtesy of Instagram.
For an example of someone treated as a "social media artist" within the art context, the go-to reference is probably someone like Amalia Ulman, who in 2014 unspooled a lightly seedy fake life story via Instagram, before revealing that it was all a performance artwork dubbed Excellences & Perfections. Elle would dub Ulman "The First Great Instagram Artist."
Or you might also think of Petra Cortright. She is now a painter (and designer of Google phone cases). But she first managed to win the notice of art observers by baffling them with inscrutable, affectless webcam videos on YouTube—some kind of early commentary on the isolation of the screen.
Looking at such figures from outside the slightly credulous gaze of the art world, I have difficulty seeing how such works will last. A decade ago, at the dawn of YouTube, the personality called Lonelygirl15 developed a giant following for her winsome personality. Gradually, her monologues revealed a story about a mysterious cult. Then it was all revealed to be an elaborate scripted hoax. It merged the video diary format and fabulated narrative many years before fine art was watching that space.
Some 110 million people have viewed Lonelygirl videos overall. Lonelygirl made the cover of Wired magazine with the teaser "YouTube Grows Up," becoming one of the faces of that platform blossoming into the immense ecosystem of vloggers, pranksters, and viral para-art that it is today.
Judged by any external standard—formative influence on the medium, actual popularity, complexity of execution—Lonelygirl15 is the project that belongs in the Museum of Internet Art. The idea that the artists did something richer because they are, formally, "artists" is untenable.
More recently, the art/social-media ecosystem has spawned a new intermediary character, somewhere between socialite, photo diarist, performer, and artist. A much-followed example is Pari Ehsan, aka @Paridust, an architect turned fashion blogger who a few years ago had the inspiration to begin pairing her clothing with the art at shows she was seeing, posting the images to her website and Instagram.
A post shared by Pari Ehsan (@paridust)
Over the last few years, Paridust has accumulated 200,000 followers—modest for an Instagram influencer, but equal to the following of Ulman's now-canonized Excellences & Perfections performance twice over and then some. She has won media coverage to make most artists envious, and now peppers the gallery-going fashion adventures of her feed with #ads for Uber, Volvo, and Calvin Klein Obsession.
As a role model for a new generation of creative people, Ehsan is almost certainly more potent than most contemporary artists. What she does is Influencer Art avant la lettre.
Selfie-Representation
"Disintermediation" is a hot word in the business world, with all manner of startups making the bet on cutting out middlemen. Get rid of brick-and-mortar; sell direct; keep the savings. And, with a chronic oversupply of artists and the gallery model creaking, plenty of people are betting on social media tools to allow artists to be their own agents—combining, in effect, the two meanings of self-representation.
This year, the list of articles marveling at figures who owe some kind of success to Instagram grew (see Baron von Fancy, or Lauren Brevner), to the point where the novelty of the trope might be wearing off.
None of these have really achieved the kind of art-world success, yet, that Bodak Yellow sensation Cardi B achieved in music this year, from her Instagram launchpad. This may be because the art industry is too invested in maintaining the authority of its own arcane structures; or it may be because the social media platform inherently favors people who are attractive performers.
A post shared by Shane Miller (@shane.artistry)
Indeed, it is notable that even the most conventional types of artists are pressed towards a new sideline as a performer within the Fine Art-Social Media continuum. The Nashville painter Shane Miller, creator of woozy encaustic landscape paintings, became something of a spokesperson for the self-repping Instagram art scene this year. Here he is, speaking to the State of the Art podcast:
I think people crave that connection with the artist, and with the art. Obviously, art speaks for itself…. But I think people appreciate knowing what is behind the piece, or what the artist is thinking, or even just what the artist is thinking aside from when they are in the studio. What does the artist do outside the studio, or outside of painting? Who are they as a person? I think that's something that is new that before the internet wasn't a thing for the artist. They would stick to the studio and the gallery would be the middle man, and there was this air of mystery surrounding the artist.
My colleague, Tim Schneider, doubts that disintermediation will become quite the democratizing savior artists hope, because of what he calls the "tyranny of options": without gatekeepers, the number of artists competing in the same space multiplies, actually diminishing the odds of profitable success.
But for those hustling for a shot at the brass ring within the new environment, the pressure to stand out intensifies—which means the pressure to become a human brand grows, and visual artists sprout a new sideline performing themselves.
Internet Royalty
The most-viewed artwork of the year, by almost any standard, is Awol Erizku's flower-bedecked maternity portrait of a pregnant Beyoncé. On Instagram, its posting marked her official announcement that she and hubby Sean Carter had been "blessed two times over" with twins. It was the most-liked photo of the year on the platform.
Awol Erizku's Beyoncé pregnancy announcement photograph. Photo courtesy of Beyoncé, via Instagram.
I freely admit that Influencer Art brings out the inner Adorno in me. The entire phenomenon of collapsing life into an ad for your life into a just-plain-ad stinks of capitalism flattening aesthetics and subjectivity at a whole new eerie and toxic level.
But Instagram has been a way to create buzz about a pool of voices who otherwise wouldn't be taken as seriously. Given all the biases that infest the art system as it is, that's not a bad thing.
Erizku is a good example of a worthy artist who has caught fire through this channel. Even if you count the maternity pic not as a pure work by him, but as some kind of Erizku-Knowles co-creation, the connection gave his art a new prominence (even if he himself maintains the traditional fine-art aloofness, preferring not to talk about the Beyoncé connection). If artist-designed celeb society portraiture becomes a thing, I am pro—or at least not by-default anti.
Still, the Erizku pic's success also points to another dynamic of the space as a platform for artistic identity formation. There are definitely figures who hustle their way up the ranks of the art-influencer economy through pluck. But for all social media's purported democracy, in the art case some pre-established celebrity or brand almost always plays a part in solidifying real success.
Most Instagram success stories have this character. For the psychedelic self-portraitist Bex Ilsley, it was an association with Miley Cyrus. For Harmonia Rosales, who went mega-viral this year after repainting the Sistine Chapel with black women as its stars, every article recounts her celebrity fans, including Samuel L. Jackson and Amar'e Stoudemire.
A post shared by Harmonia (@honeiee)
So far, the evidence suggests that disintermediation may not so much as do away with gatekeepers for art, as shift the credibility-establishing function from the realm of art-specific experts to mass-appeal celebrities.
Those Other Twins
To get a sense of the more unseemly pressures at play in the space, we might have to seriously consider the success of another set of twins, Allie and Lexi Kaplan, aka the Kaplan Twins.
After getting BFAs at NYU as painters, the duo first found viral success with lightly stylized, but basically photo-derived canvasses depicting racy celebrity selfies—a kind of hack for the requisite famous-person association. They found their first major financial and media heat when the adult-video aggregator Pornhub bought their painting of a still of Kim Kardashian's sex tape for its offices.
https://www.instagram.com/p/BXOdTxrgjc3/?hl=en&taken-by=the_kaplan_twins
The Twins then went West, to Los Angeles. They have moved towards explicitly thinking of themselves as hybrid artist-celebs, half-Warhol and half-pornier performance-art Mary-Kate and Ashley. "In New York, the art world is set in its ways," they explained to Vice. "Here is untapped. There's Hollywood, and it's easy for artists to merge into that culture for us. That's why Instagram is such a good tool for us, because we integrate ourselves into our work."
In LA, they met (via Instagram, of course) Matty Mo, an art agent/guru known as The Most Famous Artist. Mo (I cannot bring myself to call him The Most Famous Artist) explained his philosophy to Vice, offering a brain nugget that nicely sums up how their evolution reflects a natural slide along the Fine Art-Social Media continuum:
I come from the Silicon Valley world and now I am looking to disrupt the art world. Almost immediately we started to think of ideas of how we can monetize their brand in the environment which is direct-to-consumer art sales on Instagram. They made this interesting observation that they got a lot more likes on photos of themselves than they did of their artwork. And so we got to think about how we could integrate an art object into their lives and tell the stories of their involvement with the objects and sell it directly to consumers.
Such an inspiration resulted in Boy Toys, a performance for which they photographed themselves sleeping with various stuffed animals, then sold them as found-object sculptures to their followers. Their next inspiration was their "#SATONYOURFACE" collection, prints which involved them painting each other's butts then pressing them to illustrated faces of Marcel Duchamp, Mr. Brainwash, Donald Trump, and so on. The Twins performed a version in Miami during Art Basel Miami Beach this year—DuJour mag called them "up-and-coming pop-artists"—ratifying that event's status as the pile-up of charmless dumbassery that it has become.
https://www.instagram.com/p/Bcf8aMlAt2h/?taken-by=the_kaplan_twins
Social media has done a lot of good, politically, giving a platform to marginalized voices. But simultaneously, it has helped an authoritarian multimillionaire reality TV show star to become "Twitter president." It undercuts old hierarchies but also amplifies embedded privileges—sometimes both at once, in the Trump case. Influencer Art opens new pathways to success but, given a ruthlessly unequal environment, it probably creates incentives that favor the conventionally attractive, the wealthy, the well-connected.
As art's evolution continues apace under its star, it is bound to force us to take some very, very grotesque things more seriously than we would ever have wanted to.
Re-enchantment?
For all my visceral dislike of its dead-eyed cynicism, it's not that the Kaplan Twins phenomenon somehow does not belong on the continuum with "art." It's simply bad art.
Like Ingrid at the end of Ingrid Goes West (I'm not going to spoil it), it embodies a mindset that can no longer tell the difference between creative success and the most destructive and fleeting forms of attention. What the Kaplan Twins offer is so clearly basic titillation that I can't imagine it not being discarded by the very appetites that it stokes, since those appetites are so superficial.
For the purposes of understanding the emergent skillset of Influencer Art, you might look to another artist, the enigmatic figure known as Zardulu, the Mythmaker. A masked and inscrutable force, she first became well-known for Selfie Rat, a viral hoax in New York, though supposedly she was working in the shadows well before that. (The spreading Zardulu mythos is chronicled in a crackerjack episode of the podcast Reply All.)
Like the Kaplan Twins, Zardulu was in Miami for fair week this year. There with the help of drag queen and artist Gio Profera, she perpetrated another hoax, this one finding its way onto Telemundo and being crowned "[o]ne of the most widely viewed pieces during Miami Art Week" by the New York Times. In the clip, a man is seen declaring that he has just been bitten in the testicles by an iguana that came from the toilet.
Zardulu calls the work The Usurpation of Ouranos.
I'm not so sure I think such a gesture is by itself that clever—though I love the idea that the improbable but not-so-improbable happening was meant to echo (on some buried level) Greek myth, with the iguana standing for the avenging god Kronos.
In the post-truth political landscape, this kind of hoax-art does risk eroding any credible sense of reality. The cultivation of fake wackiness also has the effect of eroding attentiveness to the genuine eerie coincidences in the world.
Nevertheless, there is something to learn from Zardulu. She has, thus far, managed not to give up her secret identity to the media. That withdrawal is very clearly theorized as part of the art. "Deep down," Zardulu told the Times, "we don't care about the truth. We want myth."
The Twitter avatar for the artist known as Zardulu.
And while this calculated enigma is of course a ploy to feed a media myth (oddly, in this sense, her methodology most echoes Banksy), it also pushes deliberately against the tendency of social media to consume the personality of the artist. The pressures of that media space all push artists to be relatable objects of desire ("Who are they as a person?", is what Shane Miller thinks his collectors want from an artist on social media). It tends to exhaust viral fascinations by relentlessly denuding them of whatever mystery or novelty powered them in the first place.
What sets Zardulu aside from the average viral media hoaxster is her refusal to finally be known, to totally explain the joke, to totally give up the secret to the gaze looking in. That's actually a very difficult balance beam to walk.
The ability to feed the hunger of the image machine but not let it totally consume you may be the artistic skill of the future.
Which brings us to the importance of interpretation—which will be the subject of the last part of this series, on the changing status of art writing, which will have to wait until the New Year.
National Art Critic
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… a false, and ill-regulated, or thoughtless imitation; that is, when we, though not endued with the same spirit, or authorized by the same command, plead as our example what any of the Fathers did; as for instance, if any private individual resolved to revenge the injuries done to brethren, because Moses did this, (Exodus 2:12;) or if any one were to put fornicators to death, because this was done by Phinehas, (Numbers 25:7.) That savage fury in slaying their own children originated, as many think, in the wish of the Jews to be like their father Abraham, as if the command, Offer up thy son Isaac, (Genesis 22:2,) were a general command, and not rather a remarkable trial of a single man. Such a false imitation is generally produced by pride and excessive confidence, when men claim more for themselves than they have a right to do; and when each person does not measure himself by his own standard. Yet none of these are true imitators of the Fathers, most of them are apes. That a considerable portion of ancient monachism flowed from the same source will be acknowledged by those who shall carefully examine the writings of the ancients. And, therefore, unless we choose to err of our own accord, we ought always to see what spirit each person has received, what his calling requires, what is suitable to his condition, and what he is commanded to do. (Commentary on John 4:20).


The largest size of photo 2448×3264 pixels, you can download with JPG format. This photo was made by Apple iPhone 4s camera with shooting mode iPhone 4S back camera 4.28mm f/2.4 - 4.3mm · ƒ/2.4 · 1/168s · ISO 50. Stored in the category "Food/Drink" and our photographer was tagged: Tee, Peppermint Tea, Mint, Drink, Healthy, Leaves.


Community/Volunteer Services: Active in local governance and citizen involvement for many years. Headed and served on the Clackamas County Planning Commission. Headed and served on the Clackamas County and Metro Committee for Citizen Involvement. Original Chairman of the Hamlet of Beavercreek, currently serving as Vice-Chairman. Served or serving on many other community boards and commissions.
Vision for BCT: Improve Internet, TV, and voice services to our members while adapting to the changing Federal and State telecom regulatory environment, maintaining the value of the investment members have made over the years.
Community/Volunteer Services: Countless hours working hard for the kids at Beavercreek Elementary School.
Vision for BCT: Continue to become a more efficient company, improve the financial strength of the cooperative, continue to improve broadband speeds and quality, and have the friendliest, most member-oriented customer service possible.
Community/Volunteer Services: Active with Three Rivers Board. Volunteer at Canby New Life Church with the youth group.
Vision for BCT: Stay the course we are on: pay down debt and continue to strengthen our relationships with neighboring telecommunications companies by working together to find ways to reduce costs of products and services provided to our members, who are the heart and soul of BCT. Continue to see BCT provide faster Internet Services to its members.
Community/Volunteer Services: I have been a member of the Oregon City Chamber of Commerce for over 25 years and have served on the Board of Directors and as the Chamber President. I am a 13-year member of the Rotary Club of Clackamas and have also served on the Board of Directors and as Chair of International Service. I work for Clackamas Community College Foundation and have lived in the Oregon City Community for over 39 years.
Vision for BCT: My vision as a Board member is to advise, guide and support the President's leadership striving for improved finances and to deliver faster broadband speeds to BCT members.
Community/Volunteer Services: Served on Clackamas County Planning Commission and Committee for Citizen Involvement. Currently Chairing The Hamlet of Beavercreek Board. Have served on numerous local governance boards and commissions. Active with equines belonging to riding and driving clubs.
Vision for BCT: As a new Board member, I am impressed and supportive of the Board's goals of fiscal responsibility by paying down debt and networking with local telecommunications companies to provide efficient services and state-of-the-art technology while working within an ever-changing and highly-regulated environment. BCT's most valued asset is its members and I support the goal of continued exceptional service and support.
Employment History: Chief Accountant, University of Portland (5 years); Accountant, Yergen and Meyer, CPAs (5 years).
Community/Volunteer Services: Board of Director for Clackamas Volunteers in Medicine, The Founders Clinic in Oregon City. Past President Oregon City Kiwanis: President Beavercreek Charitable Trust; Past Treasurer St. John the Apostle Auction; OC Youth Baseball Coach; Children's Center Fund Raising Volunteer (Hope and Healing Event); H.O.P.E. International Volunteer (PDX Homeless Food program).
Vision for BCT: My goals are to guide the cooperative into better financial stability through partnerships in the industry and community, and to continue to provide high-speed Internet options to our members. BCT is working to leverage current assets with minimal additional investments to expand our Beavercreek network and enhance our members' connection experience.
Education: Associate of Science degree in Drafting Technology from Clackamas Community College.
Employment History: Engineering draftsperson (12 years); Assistant Engineer (1 year); Engineer (14 years); Director of IT and Engineering (8 years).
Community/Volunteer Services: Volunteer firefighter Beavercreek/Clackamas Fire Districts 1978-1997; Clackamas Amateur Radio Emergency Services 1993-present.
Vision for BCT: Continue to improve upon broadband quality and services.
Education: Associate's Degree in Information Systems Programming, Denver Technical Institute (Aurora, CO); Associate's Degree, Western Culinary Institute (Portland OR); two years Business & Accounting, Mesa State / Metro State College (Denver, CO).
Employment History: Vice President of Network Operations, Canby Telephone Association (4 years); Director of Wire Line Operations, Nemont Telephone Cooperative (9 years); Manager of Complex Circuits, MPLS, VPN, DSL and Web Hosting, McLeodUSA (2 years); Network Engineer, McLeodUSA and Jato Communications (4 years).
Community/Volunteer Services: Board of Director for CTV5; Canby Planning Commissioner; Canby Booster Club and annual volunteer for many community events.
Vision for BCT: Embracing the cooperative principles and values. I believe in being a good steward in the community while bringing innovative and relevant technology to our members. I feel it is vital to be involved in a strategic role with our neighboring cooperatives. We can reduce costs and enhance our efficiencies together through economies of scale.
Employment History: Vice President, Member Services, DirectLink (7 months); Vice President, Sales and Customer Care, Harry and David (2 years); Director, Customer Service, Starbucks (8 years); Operations Manager, Customer Care, SureWest Communications (8 years).
Community/Volunteer Services: OTA Scholarship Committee, volunteering for many community events.
Vision for BCT: To deliver a consistent, personalized and unparalled experience by making it easy to be a member. To exceed the expectations of our members by offering products and services that add value and create loyalty. To identify efficiencies in an effort to reduce costs but at the same time add bandwidth. To continuously evolve the way we approach our work while embracing the cooperative model and the community we serve.


Can you give me some guidance on wood for my bar? For framing, I'll use treated lumber, but for the exterior visible surfaces, I wanted to use something a little nicer. Can I use regular untreated wood (pine board, pieces of molding, etc.) if I seal/stain/treat it? What should I use to treat it from weather damage? I would like to put something on it (some sort of varnish to make it glossy). Can you give me some help with this?
Pressure Treated Wood is treated for bugs with a pesticide and not for rain or weather exposure. You don't really need PTW on top of a deck. If you live in a very wet climate, it may be a good idea to have the bottom plate with PTW. This may prevent rot between a wet deck board and the bottom plate. Common framing material is good for the frame, such as spruce, pine or fir. For the exterior finish, cedar is the best with its natural oils to preserve the wood.
Try to avoid moldings made out of finger joint materials. With the temperature extremes and the moisture, these will fail over time. Moldings come in cedar, too. My second choice for finish wood after cedar is pine. Teak is very good, as well, but expensive, used alot on boat decks.
I recommend 2 coats of Cetol, 1 on raw wood then 1 coat of Cetol 23 for the final finish. These come in colors or clear, so color match the number 1 with the 23. Cetol 1 penetrates, seals and stains the wood where 23 provides a sheen as a finish, but not glossy. Follow the directions on the can and see the color samples at your dealer's.


We take another look together at the Rector Major's Strenna 'Holiness for you too', as we continue to seek holiness around us and within us during Holy Week. Our closing thoughts for Lent 2019 come from Fr John Dickson SDB, who considers the holiness he sees as a University Chaplain. (Fr John pictured above with Chaplaincy colleague, Nina).
One of our Muslim students once said to me: Where you find 'goodness', follow it!
Indeed in my seven years at Royal Holloway, I have been blessed to find both 'goodness and holiness' in abundance among so many students and staff in the apparently unlikely atmosphere of a prevailingly secular University.
I have found 'Goodness and holiness' in young people for whom 'fairness and honesty' demands 'transparency' in dealing with others. 'Goodness and holiness' is evident in young people who have the courage to seek for the truth even though it may be unpopular and who are prepared to challenge the prevailing view. It shines in young people who generously share their enterprises and develop those with disability or who are in difficulty. It is clear in young people who volunteer to help others when it is massively inconvenient for themselves; in young people who help friends who get into difficulty by referring them to staff who can help; In young people who develop their faith by building a community that prays and plays together.
Our Salesian Youth Ministry (SYM) team is developing a new summer camp project which will offer much-needed breaks to young refugees and asylum seekers aged 14-17, and they need your support. Watch the video below.
The Valdocco Project is inspired by our Salesian charism and named after the place where Don Bosco first gave hope and joy to excluded young people. It's a response to Pope Francis' calls for compassion towards those seeking sanctuary, and to "recognise and welcome the Lord Jesus among the smallest and most vulnerable." The project has also been shaped by the Rector Major's request to the Salesian family in Europe to seek practical ways to offer assistance in the refugee crisis, paying "particular attention to unaccompanied minors and young people".
In the penultimate week of Lent, the Rector Major considers the heart of the Salesian spirit, in the rich network of relationships we form in our lives, and Fr Graham Forristalle looks at holiness in a parish preparing for the holiest time of the year.
This week, essential work to renovate Thornleigh chapel began.
The chapel, built in the 1950s, is used for school and youth ministry events, and has been the venue for several ordinations. It will be out of use for several months, which new heating and electrical systems are installed, and other restoration work and minor alterations are carried out, to bring the building up to date.
Parishioner Joy Mowat sends news from Chertsey. Joy is pictured above with the Parish Council: Fr Michael Hines, SDB; Gwyn Williams UK Director and Libia Roldan, organiser.
This Year, St Anne's, Chertsey, is celebrating 90 years as a Parish church. We have a year-long programme of events to mark the occasion and on the 3rd Sunday of Lent we took part in a "Feed the Hungry" packing event. This charity supplies meals to those most in need and our efforts were being sent to children in Burkina Faso and flood victims in Zimbabwe.
Excitement is building for the celebrations in August to mark the 50th Anniversary of the Salesian Sisters arrival in Scotland.
The Easterhouse and URSpace communities came together this week to discuss and develop ideas for this wonderful celebration.
The gathering included looking through documents, cuttings and scrapbooks with memories of over 50 years of presence in Scotland, serving young people in Paisley, Milton, Easterhouse, Elderslie and Johnstone, Nitshill, Newmains and Newlands.
The celebration Mass on Saturday 24th August will be presided over by the Right Reverend John Keenan, Bishop of Paisley and a past-pupil of Shrigley.
The Mass will be at St Fergus Church, Ferguslie Park, Paisley, on Saturday 24th August 2019, at 3pm. Please save the date!
Last weekend, Adam Ditchburn, a volunteer at Savio House in 2006, launched his first collection of poetry, As the Crow Flies, at an event at Hull Library, in his home town.
Adam, pictured above with his wife and children, has been writing and performing songs in the UK and USA for several years, but the book, published as part of Don Bosco Publications' Pocketbook series, marks a shift of his writing focus towards poetry and prose.
This week saw two gatherings of Salesian past pupils, in Bolton and Battersea.
A group of former students reunited at Thornleigh Salesian College, which they attended from 1970-77. They were given a tour of the school, and shared some very funny stories, and fond memories of their schooldays, and as the photo above shows, the sun came out for them too.
In our Lenten reflection this week, the Rector Major discusses joy lived out in a holy life, and Fr Bob Coupe SDB looks back at the inspiring holiness of those who supported and formed his faith and Salesian vocation over the past 68 years. Above: Fr Bob with footballers from Shrigley in 1969.
1941. I'm standing on the corner of the largest playground I've ever seen. There are about twenty of us, all strangers. Some have unfamiliar accents -they're from Bolton, Westhoughton, Leigh, Bury, Edenfield. We're waiting nervously to take an entrance exam for Thornleigh. We see a small figure approaching. He's dressed in a cassock, he's quite stout, we can't see his feet. But he gives us a big smile, and asks 'Are you all good runners?' It was Fr Poggio. The first Salesian I'd ever seen. Little did I know that this was a day that would define the rest of my life.
Br Lukasz from Savio Salesian College writes about the school's Bosco Group and their weekly "Faith in Action" reflections.
Imagine Savio Salesian College students talking about the weird case of St. Peter, considering the motivation of merciful Mother Teresa or discovering that Don Bosco's dream is still happening. It's been a long time since the Bosco Group started weekly reflection as a part of the "Faith in Action" curriculum.
Hazel, from our Chaplaincy team, in the beginning of the school year, gathered quite a few volunteers to take part in Faith in Action, a well-known annual Catholic Youth Programme. Each Wednesday the whole group meets in the "Bosco Room" for a reflection on the life of another Saint which is being delivered by me. Every week the Bosco Group goes over one saint with a fine-tooth comb.
Savio Salesian College Chaplaincy Assistant, Hazel Fort, writes about the value of taking students out of school for a retreat in a totally different setting.
We have just completed the third of our five annual retreats for Savio students. Each form is given the opportunity of spending a day away from school concentrating on a given topic prepared and delivered by Father Ruszniak. These 'away-days' are very popular. This time it was the turn of our Year 9s. They were reflecting on their future and they were shown a clip from 'Back to the Future.' As with Year 9s all over the country, this is their pivotal year: choosing subjects to study at GCSE level that will help them to achieve their goals. They reflected on past years and faced their future – some with trepidation; some reluctantly. At the end of the reflection, they were invited to write a letter to their future-selves outlining their hopes and fears. These letters were sealed in a self-addressed envelope then put away with a personal prayer in the chapel until they reach Year 11. When they reach Year 11, and are about to leave school, they can open their letters and see what they have achieved: whether their goals are still the same; and how have they changed - because change they will.
When an outbreak of norovirus closed Sacred Heart Primary School Battersea on 31st January, the Don Bosco Day celebrations had to be postponed.
But, with everyone feeling tip-top again, a wonderful celebration Mass took place in Sacred Heart Church on the Feast of St Joseph instead, presenting our founder as 'The Greatest Showman'.


What is another word for obliged?
forced, committed, required, grateful, liable, obligatory, held, responsible, mandated, incumbent, indebted, necessary.
acknowledged, pledged, encouraged, acknowledgement, impelled, Urged, categorized, entitled, observed, authorized, recognised, authorised, involved, Necessitated, incorporated, governed, exploited, reintroduced, Enjoined, Contributed, Entailed, arranged, Attributed, Excluded, pressurised, implemented, Jeopardized, motivated, Challenged, imposed, engaged, restrained, Displaced, rescheduled, empowered, recognized, Complied, stopped, stimulated, instructed, condemned, Upheld, constrained, employed, Followed, invited, promised, regulated, confined, entrusted, charged, Coerced, Consulted, Managed, organised, appreciated, Administered, restricted, Worked, Responded, fulfilled, Refused, enforced, assigned, Issued, Persuaded, described, owed, intended, left, advised, accompanied, permitted, dismissed, guided, immunized, licensed, Incurred, associated, welcomed, sworn, imagined, reminded, pointed, Provided, dedicated, filled, uprooted, established, Denied, accepted, initiated, given, bound, lowered, exposed, directed, agreed, hired, Detained, severed, Submitted, Believed, redeemed, Generated, completed, Adhered, Filed, identified, Told, Prompted, Convened, sent, Allowed, devoted, admitted, presented, ordered, combined, Insisted, moved, Brought, collapsed, granted, locked, Performed, Regarded, perceived, concerned, accumulated, located, honored, honoured, Deemed, thanks, Thanked, included, set, Steered, Delivered, Been, Translated, inspired, supposed, Offered, addressed, felt, coupled, Demanded, presumed, Indicated, owned, proceed, organized, Undertaken, pressured, Flown, Borne, broken, tied, Commanded, attended, Transported, evidenced, covered, experienced, respected, led, limited, needed, convicted, expressed, valued, updated, concluded, built, documented, witnessed, connected, considered, bonded, shall, maintained, Termed, balanced, let, Compromised, Wished, hosted, chosen, used, stuck, Depended, handled, measured, accused, prepared, Examined, separated, Compared, determined, applied, Lived, Supplied, Resulted, Dealt, known, signed, treated, faced, assumed, Remained, tested, gone, seen, Viewed, dressed, reviewed, doomed, spoken, warranted, placed, Sentenced, Subjected, Reared, sought, request, requested, started, desired, Lasted, linked, induced, forced, Asked, realized, Tasked, Had, stored, Pushed, said, ensured, Operated, dimmed, attached, Occurred, Stayed, Assessed, pursued, Claimed, staffed, Caused, conducted, controlled, kept, turned, Watched, raised, focused, drawn, Returned, called, heard, headed, reduced, Achieved, paid, driven, backed, Taxed, taken, played, put, Stood, based, wanted, Meant, Met, Carried, found, Accounted, Gotten, Acted, run, manned, thought, done, made, tried, named, committed, required, grateful, held, mandated.
thoughtless, ungracious, unobligated, inappreciative, inhospitable, rude.
Were you obliged to sit in a cold room?
Am I obliged to give it to you?


text:
911 calls (June 20, 2019)
There were 45 bookings at the San Joaquin County Jail in the 24 hours ending at 8 a.m. Wednesday. At that time, there were 1,351 people held at the jail, which has an official capacity of 1,550. When the jail is full, some inmates may be released early.
Stockton Police
Pursuit: A man driving a moped evaded police about 6 p.m. Tuesday in the area of Eighth Street and Nightingale Avenue. Officers spotted the black moped and tried to pull it over for traffic violations. The rider did not stop prompting officers to pursue it. The chase was ended for safety concerns. The driver was a white man wearing black clothing and a black helmet.
Burglary arrest: A business owner called police after finding the suspect inside her business about 9:10 p.m. Tuesday in the 100 block of North El Dorado Street. The suspect, 54-year-old John Scott, tried to run away but was detained by officers. Scott was found to be in possession of property that belonged to the victim and had caused damage to the business. Scott was arrested on suspicion of burglary and vandalism.
Weapons arrest: A 44-year-old man was arrested after officers found a billy club and a throwing star while investigating a suspicious vehicle at 7:50 a.m. Wednesday in the 900 block of Clarance Avenue. Officers contacted Anthony Galtman, 44, and noticed the club in the vehicle. He was arrested on suspicion of weapons charges.
Robbery: A man robbed a person who was giving him spare change about 9 a.m. Wednesday in the 400 block of East Pine Street. The victim offered the man 50 cents from a bag of change, but the robber grabbed the bag and ran. The robber is described as a Hispanic man, 26, 5 feet 8 and 150 pounds. He has brown hair, blue eyes and was wearing a green baseball cap.
Resisting arrest: A 26-year-old man attacked a woman at about 1:30 p.m. Wednesday in the 700 block of North El Dorado Street. Officers responded and tried to take Malik Davis into custody, but he became combative. Davis was restrained and arrested on suspicion of battery and resisting arrest.
Stockton Fire
The Stockton Fire Department responded to 126 calls for service in the 24 hours ending at 8 a.m. Wednesday, including five vehicle accidents, 99 medical calls and one structure fire.


text:
Gayle wary of Waterhouse demanding fans
Livingston Scott
Marcel 'Fuzzy' Gayle said although he's under no great pressure from Waterhouse's reputedly demanding fans, he knows only success can satisfy them.
Gayle, a former assistant coach, player and community resident, has not faced the intense pressure previous coaches, such as Calvert Fitzgerald, Glendon 'Admiral' Bailey and even Donovan Duckie, who brought them to last season's final, had encountered.
BELIEVEINWINNERS
But Gayle who has been closely attached to the club since youth football, knows too well that only victory and success can appease Waterhouse's trophy thirsty fans and this, he says, drives him to do his best for the club.
"I don't think it (pressure) is that much. But my community is a community that believes in success, they believe in winners, so when you are not doing good they will make no apology in telling you that you are not doing good. But when you are doing good, you are the best coach, in the world," he reasoned
"Alex Ferguson and Arsene Wenger are probably the only coaches that never got fired. Pressure is always going to be there. But most of the pressure on me comes from myself. I am always hard on myself as a hard taskmaster.
"I always want the best for myself, so sometimes that pressure push me, and when the fans want Waterhouse to win that makes me rather than break me, so I have to do my homework to make sure things are in place," he continued.
The Drewsland-based club defeated newcomers Dunbeholden 1-0 to win their opening RSPL game for the first time in four seasons, and he was pleased to get the team off the mark on the opening day.
"It's always good to get the first win, it can set up your season going forward. But, at the end of the day, it's what you do at the back end of the season but it's a motivation going forward," he said
"For the last four years, we haven't won our first game, so this is a big history winning the first game of the season and the community is quite happy about it. The performance was not the greatest. It was a workmanlike performance. But we showed a lot of grit and guts and we prevailed, but we are humbly satisfied with the result," he added.
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text:
Q: If I change the numbers into the if statement what the result whould be? If I change the numbers into the if statement what the result whould be?

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    var xhttp = new XMLHttpRequest();
    xhttp.onreadystatechange = function() {
        if (this.readyState == 4 && this.status == 200) {
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A: Beyond you being short two '}'s, it would be that nothing would happen, since then, most likely
document.getElementById("demo").innerHTML = this.responseText;

wouldn't be processed, and your HTML wouldn't be enriched with the response text of whichever web service you're calling?


text:
AAP declares ex-bureaucrat Elvis Gomes as Goa CM candidate
The Aam Aadmi Party declared on Monday Elvis Gomes, a former bureaucrat, as its chief ministerial candidate. The announcement was made at a rally at Cuncolim in South Goa by the AAP national convenor and Delhi chief minister Arvind Kejriwal.
india Updated: Jan 04, 2017 19:30 IST
Jatin Gandhi
New Delhi, Hindustan Times
Former bureaucrat Elvis Gomes will contest South Goa's Cuncolim.(Photo credit: Twitter/ @AamAadmiParty)
Delhi chief minister Arvind Kejriwal launched on Monday his campaign to "liberate Goa from bad governments", announcing former career bureaucrat Elvis Gomes will be the Aam Aadmi Party chief ministerial face in the coastal state.
The announcement came on Monday evening at Kejriwal's first public meeting in the state in seven months. Kejriwal had held his last public meeting in Goa in May.
On Monday, Kejriwal was flanked by Gomes and other party candidates at the rally in South Goa's Cuncolim, from where the CM face will contest.
The choice of Gomes' constituency for holding the rally is loaded with political symbolism because December 19 is also observed as Goa Liberation Day – when the state was liberated by the Indian armed forces from its colonial rulers, the Portugese, 55 years ago.
The AAP has promised to liberate Goa from what it says are corrupt political regimes of the past, led either by the ruling Bharatiya Janata Party or the Congress.
A career bureaucrat, Gomes had resigned in July, alleging victimisation by the BJP government. He was serving as the inspector general of prisons when he sought voluntary retirement and joined the AAP.
The AAP is not only hoping to open its electoral tally in the state, but also considers itself a serious contender for forming the government.
The party has already declared 32 of the 40 candidates, and its volunteers and workers launched a door-to-door campaign for their party back in September.
The run-up to the Goa election has seen both Prime Minister Narendra Modi and Congress vice president Rahul Gandhi visiting the state.
BJP banks on Modi to fight anger in Gujarat's auto hub
Digvijaya on Goa setback: Alliance plan sabotaged, why am I being made a villain?


text:
«Luis Molina» - conjunto del nombre propio Luis y el apellido Molina - puede referirse a:

Personajes
 Luis Molina (s.XIX), político argentino, gobernador de la provincia de Mendoza.
 Luis Arnaldo Molina, futbolista peruano.
 Luis Molina, músico español.
 Luis Molina, militar guatemalteco - vicepresidente de Guatemala (1900-1903).
Luis Molina Arles, abogado y político peruano.
 Luis Molina Bedoya (s.XIX), diplomático guatemalteco.
 Luis Molina Casanova, director, guionista y productor de cine puertorriqueño.
 Luis Manuel Molina, músico cubano.
 Luis Molina Sánchez, pintor español.
 Luis de Molina (s.XVI), sacerdote jesuita y teólogo español.
 Luis Enrique Molina, jugador de rubgy argentino.

Nombre compuesto José Luis Molina

 José Luis Molina (s.XIX), gaucho y montonero argentino.
 José Luis Molina Porras (19??-), futbolista mexicano.
 José Luis Molina Quesada, político costarricense.

redpajama_set_name: RedPajamaWikipedia


Although the sample sale is in full swing, we are already preparing for our next event. We are taking appointments now for our biggest trunk show of the year! Join us October 2nd and 3rd for our Trunk Show featuring La Sposa and Simone Carvalli bridal gowns, and Bride's Head Revisited Accessories. Any purchases during the show receive a 10% off incentive for each featured designer.


We offer custom stone fabrication and installation of granite countertops for bars, laundry rooms and utility rooms with the highest level of customer service. Our goal is to deliver quality projects in a timely manner to our residential and commercial customers.
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We also offer a wide selection of stainless steel kitchen sinks designed to complement your custom granite countertops.


text:
Darlington's Carmel College Maths Hub brings the best of Far East teaching methods to the North-East
By Andy Richardson
IF you are going to learn something new then learn from the best - that has been the ethos behind an exchange of ideas that now sees North-East schools teach maths 'the Shanghai way'. Education editor Andy Richardson finds out how it could help revolutionise teaching.
A SCHOOL in Darlington is taking ideas gleaned from teachers in the Far East to spearhead a drive for North-East children to be equipped with world class maths skills.
The Archimedes Maths Hub at Carmel College has adopted methods used in Shanghai and Singapore to implement the teaching of 'mathematical reasoning' which aims to give pupils a better grasp of how the subject works and to become more adept at problem-solving, rather than learning by rote.
Carmel plays host to one of 34 hubs across the UK which were set up by the Government in 2014 to harness maths teaching expertise within a local centre of excellence so it can spread best practice to nearby schools.
The drive to improve attainment in maths at all key stages prompted ministers to look at which parts of the world were best at teaching the subject, with Shanghai and Singapore coming out top. Subsequent fact-finding missions between the UK and Asia has led to valuable new ideas being implemented in British classrooms, says Helen Keough, Carmel's Maths Hub lead.
She explains: "One of the things we learned from Shanghai is to take a lesson and mark work on the same day so that if one of the children hasn't picked it up you can go straight back to them and give them more help. This means none of them are left behind."
Another of the ideas taken from Shanghai is that instead of maths homework consisting of a recap of the things learned today pupils are asked to spend time the night before researching the subject they are due to study the next day.
Other traditional notions of maths teaching have also been challenged, such as when more able pupils complete a particular topic they would normally go straight on to the next one. Pupils using the Shanghai method continue working on the topic in hand to develop a deeper understanding.
Ms Keough adds: "This isn't about taking everything we saw in Shanghai or Singapore and applying it here. Some of their very rigid streaming of children is not something we would want to take forward here as we are very much about inclusion and ensuring every child has an opportunity to succeed. But we saw many things that work over there that we can use in the UK."
The written materials used in Singapore, for example, have proved very useful to teachers in the North-East, she says.
Carmel's Archimedes Maths Hub, and the Great North Maths hub in Wallsend which covers the north of the region, are encouraging the region's schools to tap into their services and gain mastery in mathematics.
Ms Keough concludes: "We want to make sure that we are not just among the best in the country but that our pupils are able to compete with the best in the world."
For more information, and to find out how your school can tap into funding for maths projects, visit:
www.carmelarchimedesmathshub.org.uk www.ncetm.org.uk www.mathshubs.org.uk